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Pressed on white vinyl.

This set features the original album plus Demos and Remixes, incl. Massive Attacks Remix of "Manchild". Three discs in single LP sleeves, housed in a rigid slip-case, includes original album remastered and two bonus discs of b-sides, remixes & extras
Also features the 48-page book

Remastered at Abbey Road, pressed on heavyweight vinyl, with download card included.

30th anniversary of Neneh Cherry’s classic hit album Raw Like Sushi (1989),“an unorthodox and brilliantly daring blend of R&B, rap, pop, and dance music”, sees the original album remastered and given the super deluxe treatment as a 3LP box set.

This box sets feature a 48-page 12x12 book packed full of iconic photos, new interviews, liner notes and memorabilia. The album features 5 singles - includes the worldwide smash hit single ‘Buffalo Stance’ (number 1 US Dance Chart) as well as hit singles – ‘Manchild’ produced by Massive Attack’s Robert Del Naja, ‘Kisses On The Wind’, ‘Heart’ & ‘Inna City Mamma’. Also features rare mixes of key tracks by Massive Attack, Arthur Baker, Smith N Mighty, and more.One of the most important records of all-time. Listed as one of the "1001 Albums You Must Hear Before You Die".

Originally released in 1984
Due to becoming a big hit from her previous record, “Timely!!”, Anri was brought to record her next album in L.A. with producer, Toshiki Kadomatsu. The studio musicians that took part in making of this album include Leon Chancler・Ed Green (Dr)、Nathan East (B)、Paul Jackson Jr.・Calros Rios (Gt)、Don Grusin (Key)、Ernie Watts (Sax)、Jerry Hey (Tp) participated. From dance tracks to mellow tunes, the colorful and vivid songs on this album are truly the culmination of the Kadomatsu trilogy, and a prologue to the dance-ability of Anri of the late 80's.

Intervention Records is thrilled to bring Joe Jackson's "Summer In the City" Live in New York to vinyl for the very first time! Previously available only on CD, "Summer In The City" joins IR's wildly successful vinyl reissues of Jackson's early New Wave classics "Look Sharp!", "I'm The Man" and "Night And Day". Naturally, "Summer In The City" will street on vinyl in the summer of 2017, in August.
"Summer In The City's" repertoire is an amazing bridge that spans the greatest hits of Jackson's early canon with stunning new arrangements and covers from other great songwriters. Jackson classics like "Fools in Love", "You Can't Get What You Want" and "It's Different For Girls" meet with covers as diverse as Duke Ellington's "Mood Indigo", The Beatles' "Eleanor Rigby" and Steely Dan's "King Of the World".
"Summer In The City" was mastered to vinyl by Kevin Gray at Cohearent Audio from brand-new high-res master files. "Summer In The City" was recorded live in New York City in August of 1999 by Steve Remote and Co-Producer Sheldon Steiger. Sony's archivists and Battery Studios' Mike Piacentini compiled new high-res digital master files from the original DATs with the final mixes, and IR consulted with Remote and Steiger on key aspects of the recording to ensure the best possible source files were used. The result is an absolute sonic stunner, brought to new life on this double LP set!
"Summer In The City's" original album art has been rebuilt into a beautiful gatefold jacket by IR's art director Tom Vadakan.

Limited to 500 copies, worldwide, exclusively available at HHV. The latest chapter in the acclaimed Pacific Breeze series!

Artwork by renowned illustrator Hiroshi Nagai

Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab)

Newly remastered audio

2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI

Extensive artist bios by Yosuke Kitazawa

Digital mockups are not an exact representation of colors

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering, with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto, while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

The remastered edition of the City Music Tokyo multiple compilation, curated by Cunimondo Takiguchi (Ryusenkei), originally released on CD and digital formats by Nippon Columbia in 2023, is now making its debut on vinyl!! The compilation is a chronicle curated by Cunimondo Takiguchi (Ryusenkei / City Music Tokyo), specializing in curation from the vast catalog owned by Nippon Columbia. It serves as a chronological account of the most exciting and innovative originators and key artists in the genre of City Pop.

A playful music project by Koo a.k.a. Takuya Kuroda and Voo a.k.a. Marihito Ayabe (Chimp Beams, Loop Diary) both from Brooklyn, NY.

The two met as members of Main Space (started in 2008), an experimental rock band, and hit it off because of their musicality. Amid each other’s extremely busy schedules, they had a series of music sessions in their spare time to give each other updates on their recent activities. After 11 years, the album finally took shape. Kuroda’s trumpet and keys dance on Ayabe’s breakbeats.

Kuroda, an energetic and nimble jazz trumpet player with a hint of afro beat, and Ayabe, a dub beat maker with a dark and cosmic feel—the light chemical reaction between these opposing elements has opened a new musical page.

All performances are performed by Kuroda and Ayabe, who have deep roots in Brooklyn, and their unique friendship has made it possible for them to perform with guests such as Cory King (vocal, trombone), and DJ SPINNA (remix).

Enjoy the new world view of this album that transcends the genre filled with the flavor of the melting pot NY that scoops up this chaotic era.

Last chance, last repress.

Cleo Sol - Mother is the second studio album by British singer-songwriter Cleo Sol, released on August 20, 2021. The album is deeply personal, with themes centered around motherhood, family, healing, and self-discovery. As part of the Sault collective, Cleo Sol had already established herself as a key figure in the neo-soul and R&B world, but Mother showcases her vulnerability and emotional depth in a more intimate, reflective setting.

The album blends elements of soul, jazz, R&B, and folk, creating a serene, acoustic soundscape that complements its introspective lyrics. Mother features lush, soulful arrangements, with gentle strings, piano, and acoustic guitar forming the backbone of many tracks. The overall sound is calming and meditative, allowing Sol's vocals to take center stage.

Lyrically, the album reflects on Cleo Sol's experience with motherhood and the emotional changes it brings. She addresses themes of unconditional love, personal growth, and the challenges of raising a child while also navigating her own self-healing. Songs like "Don’t Let It Go to Your Head" and "We Need You" express a sense of nurturing and tenderness, while "Promises" speaks to the weight of responsibility and the desire to protect loved ones.

Key Tracks:
"Don’t Let It Go to Your Head" – A standout track that offers both encouragement and advice, encapsulating the nurturing spirit of the album.
"We Need You" – A deeply emotional song that explores themes of connection, support, and the importance of being present for those you love.
"Build Me Up" – A soulful ballad that speaks to vulnerability and the need for support and growth within a relationship.
Critical Reception: Mother received widespread acclaim for its emotional honesty and soothing production. Critics praised Cleo Sol for her vocal performance and the way she was able to capture the complexity of motherhood and personal transformation. The album’s stripped-down production was also commended for allowing her voice and storytelling to shine.

While Mother is a personal solo project, it is clear that Cleo Sol’s work with Sault influences its sound, especially in terms of the introspective lyricism and the use of minimalist, organic instrumentation. Producer Inflo, who has worked extensively with Sault, was also heavily involved in the production of Mother, contributing to its cohesive and intimate sound.

Overall, Mother is a deeply personal and emotionally rich album that solidifies Cleo Sol's place as a standout voice in contemporary soul and R&B

* The latest chapter in the acclaimed Pacific Breeze series! * Artwork by renowned illustrator Hiroshi Nagai * Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab) * Newly remastered audio * 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI * Extensive artist bios by Yosuke Kitazawa * Digital mockups are not an exact representation of colors * Available in two vinyl variants: Pink or Black Vinyl

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

* The latest chapter in the acclaimed Pacific Breeze series! * Artwork by renowned illustrator Hiroshi Nagai * Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab) * Newly remastered audio * 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI * Extensive artist bios by Yosuke Kitazawa * Digital mockups are not an exact representation of colors

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

• Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• 2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card
• Remastered audio

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

* The latest chapter in the acclaimed Pacific Breeze series! * Artwork by renowned illustrator Hiroshi Nagai * Compiled by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab) * Newly remastered audio * 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI * Extensive artist bios by Yosuke Kitazawa * Digital mockups are not an exact representation of colors * Available in two vinyl variants: Pink or Black Vinyl

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Since 1981 French new wave/rock band Indochine have sold millions of albums and singles marking them as one of the bestselling French bands of all time. Led by founder/frontman Nicola Sirkis, their extraordinary career has spanned four decades and has fully established Indochine as a key part of France's history. Singles Collection (2001-2021) features the new track 'Nos Célébrations', recorded in London at the legendary Rak Studios.

"The long-awaited first album ""Nelson Magic"" by Nelson Super Project, a super band of nine gorgeous musicians who were indispensable for the tours of Tatsuro Yamashita and Mariya Takeuchi, has been released on analog for the first time!

Nelson Super Project is a super band of nine gorgeous musicians who gathered as the backing band for Tatsuro Yamashita's live tour ""Tatsuro Yamashita Performance '98-'99"" in 1998. Their debut album released in 2002 has been released on analog for the first time!

Nelson Super Project member profile Hidefumi Toki (Sax) A leading figure in the Japanese jazz world, he has played countless sessions with bands such as Chicken Shack. He is also the father of Asako Toki.

Yasuhiro Mitani (Vo) After debuting as a keyboardist for Stardust Revue 14 years ago, he left the band and has since been performing solo and in sessions.

Kumi Sasaki (Organ, Vo) Debuted with Masaki Ueda's band, playing organ and chorus. His chorus arrangements are the best in the world.

Yurie Kokubu (Vo) His duet with Toshiki Kadomatsu was a big hit, and he has been active as a solo artist ever since. He also wrote the lyrics for Miho Nakayama's million-selling hit.

Jun Aoyama (Dr) He dominated the music world as the most popular drummer in the studio during the 80s and 90s. He was also a member of Prism and Square.

Koki Ito (B) A versatile bass player who is indispensable to Tatsuro Yamashita.

Yoshiyuki Sahashi (G) A member of Yamagen, a session guitarist who was indispensable to J-pop in the 90s. His wife is Takako Matsu.

Toru Shigemi (Key) He has been active as a session musician since the early 80s. He is currently the band leader of MISIA's band.

Hiroyuki Namba (Key) Debuted with Mari Kaneko & Bugs Bunny. Although he is a leading figure in progressive rock, he is also active in a wide range of genres, covering all genres."

Produced by Dan Auerbach of The Black Keys, drums by Max Whitefield!

Gabriel Gosse - Flow

Produced by Dan Auerbach of The Black Keys, drums by Max Whitefield!

Deluxe Vinyl Edition includes 3 bonus tracks.

Second album released in 1979.
Includes the song “Magic Night” provided by Tatsuro Yamashita. Featuring Hiroki Inui(key, perc), Shuichi Murakami(ds), Ken Watanabe(b), Kenji Omura(g), Kazuo Shiina(g), Takeru Muraoka(sax) and many more musicians.

Twisted and irreverent, The Rabbits combined ear-splitting guitar shrapnel with one of punk’s greatest-ever snot-nosed vocalists. With hints of PIL or Chrome, but beamed in from a parallel dimension and filtered through the warped lens of visionary loner Syoichi Miyazawa. First-ever vinyl release, fully remastered from the band’s original early ’80s cassette releases, and housed in a sturdy tip-on sleeve. Includes a double-sided, printed insert. Edition of 500

Singer-songwriter Syoichi Miyazawa’s tale is a confounding one.

He grew up in a small town in Yamagata Prefecture (in northern Japan), loved Dylan and The Beatles, and had very little exposure to, or interest in, underground music. And yet, shortly after 24-year-old Miyazawa arrived in Tokyo in 1978, he began performing solo shows at tiny clubs in the city, singing and playing guitar. His performances quicky devolved from brisk acoustic jaunts to lengthy, heavy dirges sung in a snot-nosed wail over a blown-out electric guitar detuned to produce a kind of sonic sludge.

At one of his earliest gigs, a mutual friend introduced him to Endo Michiro, who would soon become the legendary front man of Japanese punk icons The Stalin. It turned out Miyazawa and Endo had attended Yamagata University at the same time just a few years earlier, but hadn’t known each other at school. In Tokyo, they became fast friends, moved into the same apartment building, and for years were inseparable. Endo played guitar and drums on Miyazawa’s debut release, the “Christ Was Born in a Stable” flexi disc. But while Endo was social and outgoing, Miyazawa preferred to be alone, avoiding concerts unless he was performing.

Despite these antisocial tendencies, Miyazawa came to despise playing solo. In 1982, an eccentric high school student named Chika introduced herself at one of Miyazawa’s gigs, and Miyazawa asked if she’d play bass. She agreed and drafted two of her friends to play second guitar and drums. The Rabbits were born.

Miyazawa wrote the tunes, and had a clear vision for the group, but struggled to get the sound he wanted from the other members. His second guitarist was more of a fusion player, and Miyazawa took great pains to get him to tone down the shredding. The group quickly went through multiple line-up changes. Frustrated with the sound of their first proper recording (self-released as the “X1(x)” cassette), Miyazawa spent a full year mixing their second cassette, “Winter Songs,” on his own.

The hard work paid off — the sound of “Winter Songs” is striking, and unlike anything the band’s peers produced. There’s liberal use of delay on the vocals, giving the music a psychedelic feel, but the guitars are caustic, cutting through the mix like metal shrapnel. The rhythm section seems on the verge of teetering out of control throughout, an overdriven and pummeling current below abrasive slabs of guitar and vocals. Even at their most aggressive, though, The Rabbits had strong pop sensibilities, complete with cooing backing vocals and the occasional harmonica solo. Miyazawa delivers his borderline nonsensical lyrics with equal amounts of menace and gaiety, consistently riding that fine line as only a natural oddball can. At times, the band sounds like a distant cousin of PiL, Chrome or The Homosexuals, but beamed in from a parallel dimension and filtered through Miyazawa’s warped lens.

Although The Rabbits briskly sold all 500 copies of the "Winter Songs" tape, live audiences at the time seemed dumbfounded by the group, and would stare at them in silence. After two years together, The Rabbits called it quits in 1984.

When asked if any of the many legendary groups (Les Rallizes Desnudes, G.I.S.M., etc.) he shared stages with left an impression, Miyazawa recently revealed that he always left the venue as soon as he finished performing, so he never caught any of the other bands…

All of which is to say —

The Rabbits are one of the great punk bands of the early ’80s, but their leader had no interest in the punk scene and always thought he was making “normal” music. They rubbed shoulders with a slew of notable groups of the era, and their singer was best friends with arguably the most famous Japanese punk of all time, but Miyazawa shunned fraternization and purposefully distanced himself from his peers.

Could this be why so few underground music fans are familiar with the group, even in Japan? Why they seem to have been written out of the official history of Japanese punk? One can never know for sure, but Mesh-Key hopes to remedy this travesty by offering this compilation, the first-ever official LP by The Rabbits, to a new generation of punk and psychedelic music connoisseurs. credits

180 GRAM AUDIOPHILE VINYL
INCLUDES INSERT
CONTAINS ETCH ON D-SIDE
FEATURING THE SINGLES “NOT AN
ADDICT”, “MR. FREEZE” & “DAD”

LIMITED EDITION OF 750 INDIVIDUALLY
NUMBERED COPIES ON TRANSLUCENT

GREEN COLOURED VINYL

Known as an icon of Shibuya-kei and Swedish Pop in Japan since the 1990s, Hideki Kaji returns to his roots with this work, seriously embracing jangle pop/guitar pop. The cover illustration is done by Hisashi Eguchi.

The long-awaited first analog release of the second album, a masterpiece released in 2012!

This ambitious album was produced and arranged by Kei Kono, a producer who has worked with Hikaru Utada and many other artists and bands, and was created with simplicity in mind.

The entire album was created from a demo of an acoustic guitar playing, and each sound was added on the spot to complete the work. The nine songs on this must-hear disc are highly acclaimed as a masterpiece, and the songs stand out for their soothing, faintly contoured vocals.

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music. This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in Disco and Electro.

To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks.Key is a blazing showcase of the depth and breadth of Moyet"s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted "to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time."The album distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey.

The Radio 2 Top 2000 is the largest annual radio event in The Netherlands. The audience of Radio 2 gets to vote for their favourite all-time songs. Literally millions of votes come together in the Top 2000. All these 2000 songs are broadcasted back to back from Christmas until a few minutes before New Year’s Eve, when they air the No.1 of the chart. The Top 2000 bridges the gaps between all musical generation from the Sixties to the present, making it the most eclectic chart out there, and keeping more than half of the country glued to their radio day and night for the whole week it’s broadcasted. And with a daily tv spin-off during its broadcast, it has reached an even bigger audience. Top 2000 - The 00’s contains the best hits from the century in which various styles of the late 20th century remained popular, such as in rock, pop, metal, hip hop, and indie. A variety of genres started to fuse in order to see new styles emerging. Artists like Amy Winehouse, Justin Timberlake, Alicia Keys, Duffy, Anastacia Pearl Jam, Keane, Maroon 5, and The Black Eyed Peas are featured on this 2LP compilation.

The first release from Nothin Personal, comes from Melbourne based artist 'Loure'. House music has always been made from the heart and for the floor. Whilst Loure's music adheres to this hackneyed creed, it exists beyond simply the confines of one particular genre. His jazz-infused, house cuts have found homes on labels such as Delicieuse Musique, Apparel Music, and Slothboogie. An oscillating live performer, Loure can be found in the middle of a flurry of hardware for his solo live show, behind the platters for his DJ sets or conducting a full live band setup that is riddled with horns, guitars, keys and infectious improvisation. For these reasons, it's our pleasure to share 'np001: Loure - Outta 106'. Marking a slightly new direction for Loure, 'Outta 106' celebrates the diversity and talent of the Melbourne underground. Showcased through a collection of 6 finely crafted tracks stretching from contemporary jazz, to breakbeat, through to house cuts - Loure collaborates with some of Melbourne's best-kept secrets, to surface the stunning talent and beauty that is the Melbourne underground.

From the human condition to global politics, Here offers a keen glimpse of everything that matters most to Keys. Here is Keys' first album in four years, following Girl on Fire (2012). Keys said that she was not planning a hiatus, but after she finished recording material for the album, she found out she was pregnant which "put a different time spin on things."

To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks.Key is a blazing showcase of the depth and breadth of Moyet"s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted "to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time."The album distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey.

The track "Chocolate Lemonade" features American musician Ginger Root as the arranger. Ginger Root also handled the mixing and mastering for the entire album. The album includes a techno-pop cover of "Message Song," originally by Pizzicato Five, whom Amaiwana admires. Additionally, it features "Shanghai Aibiki," an answer song to their 2020 track "Shanghai Wakusei," marking a continuation of Amaiwana's "Shanghai series." The album's title, "sweet Sweet Sweet," reflects a pop aesthetic inspired by the Shibuya-kei genre. The cover art, designed by Amaiwana, is sweet and catchy, complementing the album's vibe.

Little Creatures are long running Japanese band formed in 1987 while still in high school by Takuji Aoyagi (Vo/G), Masato Suzuki (Bass/Key), and Tsutom Kurihara (Dr/Per). They gained popularity while performing street shows centered around Shinjuku and Shibuya and debuted with a single in 1990 “things TO Hide”. 2020 marks their 30th anniversary from their debut. In January of 2021, they released their 8th album, “30”, a masterpiece packed with advanced minimal pop music that can only be made by the current Little Creatures, which boasts overwhelming musicianship and career.

Carly Simon’s unquestionably best album, "No Secrets", was also her commercial breakthrough. It topped the Billboard charts for over five weeks, thus quickly gaining gold status, as did the single release of "You’re So Vain". This song determined the album’s flippant tone, with its sexually unashamed autobiography (»You had me several years ago/When I was still quite naïve«) and its observations on the lifestyle of the jet set. But Simon’s sincerity also meant that her lyricism was double-edged. Now that she thinks she has found true love, she expresses her joy over her relationship to James Taylor with "The Right Thing To Do", another top ten hit. On the other hand she was just as willing to recognize her own mistakes and regretted pointing her finger at other people. It was not just Simon’s frankness that made the album a success, but also Richard Perry’s simple, elegant pop-rock production, which lent Simon’s music a vitality it never known before. Perry was mindful in particular of Simon’s vocals, making them more perceptive and stirring than in her other productions. And of course her fellow musicians, such as Paul and Linda McCartney, Mick Jagger, Klaus Voormann, Lowell George, Bobby Keys, Jim Keltner as well as her ex-husband James Taylor all contributed to the success of the album, which was awarded official platinum status by the Recording Industry Association of America.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.
Recording: September - October 1972 at Trident Studios, London, by Robin Geoffrey Cable

After a series of cassettes and one self released CD Così e Così has honed the dense and gritty textures of his deconstructed pop forays and sound experiments into a collection of poetry awash in subdued synths, bending tones, and sometimes frantic rhythms. Its efforts to dissect the constructs of time to overcome fleeting ideals in life and love make 'Impermanence In The Time Of Heavens' at once far-reaching and overwhelming, yet cathartic; a romanticism for an era of fragmented identities.

Music and extended poems throughout IITTOH sample from Vincent’s personal audio and lyrical collections dating back to 2004. Reworking the same loop in nearly every song until it's unrecognizable, and referencing other passages within, creates a work cut and scattered, yet bound by repeated motifs and moods of memory, loss, and rebirth. Recorded primarily in a log cabin in Manitoba, Canada, IITTOH was also recorded on a deserted beach town in Montenegro and a lakeside apartment in Macedonia, and completed in Montreal, Canada.

Amaiwana's new project draws influence from Shibuya-kei, new wave, and techno-pop genres.

Scheduled for release in October 2024, the project includes two EPs, 'new Shibuya' and 'new WAVE,' presented as a double A-side. Ginger Root, an American musician, contributed to the mixing and mastering of both EPs. 'new Shibuya' features the track "cover GIRLS," with a guest appearance by Maki Nomiya, the queen of Shibuya-kei. The album continues the spirit of Shibuya-kei into the Reiwa era. It also includes "Shanghai Girl," part of Amaiwana's "Shanghai trilogy," alongside previous releases "Shanghai Planet" (2020) and "Shanghai Rendezvous" (2023). 'new Wave' reimagines tracks from 'new Shibuya' in a techno-pop and new wave style, influenced by artists like Plastics, Hikashu, and Miharu Koshi, as well as 80s techno kayō music. These self-remixes offer a fresh take on the original songs, giving them entirely new identities. Amaiwana also designed the cover art, which features a double-sided concept that represents both the new Shibuya-kei and new wave aesthetics.

Third full-length solo album by singer-songwriter Mimlus Naito Akiko, filled with high-quality city pop songs. This album "home Fermenting" was produced with two supporting members during the pandemic stay-home period, and the entire production process was done at home DIY. The sound is a quality POP album with a smooth lineup of 80s~city pop~organic acoustic sounds.

Love Deluxe is the fourth studio album by the British band Sade, released on October 26, 1992. The album is widely regarded as one of the band’s most critically acclaimed works, featuring a smooth, soulful blend of R&B, jazz, and sophisti-pop, with lyrics that explore themes of love, heartbreak, and introspection. Fronted by the captivating vocals of Sade Adu, the band created an atmospheric, emotionally rich album that remains one of their signature works.

Love Deluxe marked a return after a four-year hiatus following their previous album, Stronger Than Pride (1988). The band continued to refine their signature smooth, sensual sound while introducing new elements, such as more pronounced soul and trip-hop influences.
The album was both a commercial and critical success, peaking at #3 on the US Billboard 200 and earning platinum certifications in multiple countries. Its success solidified Sade's position as one of the most important and enduring acts in contemporary music.
Lyrically, the album revolves around themes of love in all its forms—romantic, painful, and self-reflective. It balances deep vulnerability with strength, as Sade Adu's mesmerizing voice delivers the poetic lyrics with grace and subtlety.

The album combines elements of smooth jazz, soul, R&B, and ambient music, creating a lush and atmospheric soundscape.
The production is minimalist yet sophisticated, with the band opting for understated instrumentation that allows Sade Adu’s vocals to take center stage. The music is moody and introspective, often using spare arrangements to highlight emotion.
There are hints of early trip-hop in some of the tracks, with slower beats and a focus on deep bass and textured sound design, particularly in songs like "Feel No Pain."

Key Tracks and Highlights:
"No Ordinary Love" – One of Sade’s most iconic songs, this track features a mesmerizing bassline, lush synths, and Sade’s haunting vocals. The song explores the pain and intensity of unrequited love. Its atmospheric production and emotional depth made it one of the standout singles from the album.
"Feel No Pain" – A politically charged track, this song addresses themes of poverty and social struggle, reflecting on the effects of unemployment and hardship on families. It features a groovy bassline and more prominent use of percussion, adding a subtle funk influence to the smooth jazz sound.
"Kiss of Life" – A breezy, upbeat song compared to some of the darker tracks on the album, "Kiss of Life" is a love song that feels light and joyful. The smooth, soulful arrangement and optimistic lyrics make it one of the most uplifting moments on the album.
"Cherish the Day" – A standout track known for its hypnotic guitar riff and understated groove. This song is both romantic and meditative, with Sade’s voice soaring above the dreamy instrumental backdrop, expressing devotion and love.
"Bullet Proof Soul" – One of the more emotionally complex tracks on the album, "Bullet Proof Soul" reflects on the aftermath of heartbreak and the armor people build to protect themselves from further pain. The song’s slow, sultry rhythm and melancholic lyrics add to its emotional weight.
"Pearls" – A powerful, introspective ballad that takes on a more global perspective, dealing with the suffering of women in the developing world. Sade Adu’s voice is filled with emotion as she reflects on themes of sacrifice and hardship. The sparse arrangement, featuring strings and soft percussion, complements the poignancy of the lyrics.
"Like a Tattoo" – This track is a quiet, intimate ballad that deals with memory, regret, and the lasting impact of love. The acoustic guitar and Sade’s delicate vocals give the song a fragile yet beautiful quality.

Love and Heartbreak: Many of the songs, such as "No Ordinary Love" and "Cherish the Day," explore the complexities of romantic relationships, touching on themes of devotion, longing, and heartbreak. The lyrics often reflect on love’s power to both uplift and wound.
Resilience and Strength: Tracks like "Bullet Proof Soul" and "Feel No Pain" delve into themes of emotional resilience and survival, both on a personal level (in love and heartbreak) and in the face of societal struggles like poverty.
Global and Social Concerns: "Feel No Pain" and "Pearls" reflect on broader social issues, such as economic inequality and global suffering, adding a layer of socio-political consciousness to the album.
Production and Sound:
The production on Love Deluxe is both sophisticated and restrained. Stuart Matthewman (guitar, saxophone), Paul S. Denman (bass), and Andrew Hale (keyboards) work together to create a cohesive sound that relies on subtle, detailed arrangements.
The use of space in the production is key to the album’s atmosphere. The arrangements are minimal, allowing Sade’s voice to carry much of the emotional weight. This approach highlights the introspective nature of the songs and gives them a cinematic quality.
The instrumentation features a mix of acoustic and electric instruments, often layering guitars, bass, and keyboards to create lush textures. There is also a strong emphasis on rhythm, with percussive elements adding depth to the slower, groove-based tracks.

Upon release, Love Deluxe received widespread critical acclaim, with many praising its emotional depth, elegant production, and Sade Adu’s vocal performance. The album’s timeless quality has made it a favorite among fans and critics alike.
It was lauded for continuing to push the boundaries of sophisti-pop and smooth jazz, blending these genres with elements of trip-hop, R&B, and world music.
The album was commercially successful, selling millions of copies worldwide, and it has since been recognized as one of Sade’s best works. It was nominated for a Grammy Award for Best R&B Performance by a Duo or Group with Vocals.
Legacy and Impact:
Love Deluxe remains one of Sade’s most iconic albums, with tracks like "No Ordinary Love" and "Cherish the Day" becoming staples in their live performances and enduring as fan favorites.
The album’s influence extends beyond the soul and R&B genres, with artists in neo-soul and alternative R&B citing it as an inspiration. The album’s minimalist production, emphasis on mood and texture, and themes of emotional complexity have influenced a generation of artists, including Maxwell, D'Angelo, and The Weeknd.
"No Ordinary Love" has been covered and remixed by numerous artists over the years, further cementing its place in popular culture.

Love Deluxe is a beautifully crafted album that captures Sade at the peak of their creative powers. Its blend of sensuality, introspection, and sophistication makes it one of the defining albums of the early 1990s. With its timeless themes of love and resilience, the album continues to resonate with listeners today and remains a cornerstone in Sade’s illustrious career.

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat

Today New York based singer, songwriter and producer Amber Mark announces details of her long-awaited debut album ‘Three Dimensions Deep’, out January 28th via Emi/pmr Records. The announcement of the album is accompanied by a sultry R&B instant-grat track ‘What It Is’ as well as a huge UK, EU and US spring tour announcement including London’s O2 Shepherd’s Bush Empire in March

Amber’s debut album arrives almost 4 years after the release of her second EP ‘Conexão’, an extended process that has proved central to its thematic development. The 17 track album can be divided into three main acts that follow the arc of Amber’s personal and musical development; Without, Withheld and Within. Beginning by acknowledging her insecurities and anxieties before reflecting on her time in denial and spent processing them in all the wrong ways, Amber eventually widens her focus by seeking answers to the world’s negativity and trauma on a cosmic scale. Finding peace and a form of inherent spirituality in the world of astrophysics while writing the album led to a fresh perspective on

life and a renewed sense of self. Amber’s debut album is simultaneously a profound concept album and a love letter to herself, richly intertwining messages of self-worth and reflections on the universe beneath a veneer of shimmering pop. In true Amber Mark style, ‘Three Dimensions Deep’ is a kaleidoscopic melting pot of influences and genres, drawing from funk and R&B, soul and hip-hop with international accents influenced by a nomadic childhood spent travelling the world with her late mother.

“Three Dimensions Deep is a musical journey of what questions you begin to ask yourself when you start looking to the universe for answers.” says Amber; “I can only go as deep as the third dimension as that’s how we see the world, but what about when you start looking to the universe within for answers.”

“‘What It Is’ low key is the title track of the album without it actually being the title track” explains Amber; “It comes from going through negative experiences which end up being the gateway to a question I think I’ll be asking for the rest of my life. What is the meaning of life,the universe and everything?”

The three official singles already released from the album ‘Worth It’, ‘Competition’ and ‘Foreign Things’ marked Amber’s first official singles since 2020’s ‘Generous’, though 2020 was still a hugely productive year for Amber. With her hometown of NYC hit hard in the first wave of the pandemic and placed under strict lockdown, Amber turned to her simple home studio to create an acclaimed series of home-produced covers and originals titled ‘Covered-19’, each accompanied by a homemade video and artworks. The series was followed by a collaboration with longtime friend Empress Of on the protest song ‘You’ve Got To Feel’, earning Annie Mac’s Hottest Record, ‘Tune Of The Week’ and a spot on the Radio 1 playlist. Earlier this year Amber was featured on legendary DJ Paul Woolford’s new piano-house track ‘heat’, again snagging Annie Mac’s Hottest Record and a long run across the Radio 1 and 2 playlists. Having already amassed over 300 million streams since the release of her breakout debut EP 3:33AM in 2017, Amber has built a global fanbase eager to hear her debut full length -

„V I N C E N T“ ist FKJs zweites Album. Es markiert den Beginn eines neuen Kapitels für FKJ, der damit nach seinen Arbeiten als gefragter Produzent und zentrale Remix-Adresse für andere Künstler:innen wie PinkPantheress und Moses Sumney das nächste künstlerische Solo-Statement macht – nachdem er zuletzt schon ausverkaufte Konzerte in aller Welt mit seinen gefeierten „One-man-Shows“ verbuchen konnte. Kombiniert liegt auch die Zahl seiner Streams inzwischen im Milliardenbereich.

Das Konzept des „V I N C E N T“-Albums entstand während eines Soloabstechers nach Los Angeles, den er schon vor dem Jahr 2020 antrat. „Ich wohnte dort dann ganz allein in so einem Haus … und schaltete auch mein Telefon ab, um wirklich runterzukommen. Ich brauchte einfach etwas Abstand und Zeit für mich, weil ich herausfinden wollte, was ich eigentlich als nächstes machen wollte.“ Schon bald wurde ihm klar, dass er demjenigen Freiheitsgefühl nachspüren wollte, das man als Teenager hin und wieder spürt. „Damals habe ich einfach nur gespielt, es ging beim Musikmachen um nichts anderes. Ich hab über nichts nachgedacht“, so FKJ. Genau dieses Gefühl kommt schon im Eröffnungs- und dem Abschlusstitel der neuen LP durch: einerseits der Future Jazz von „Way Out“ – eigentlich ein verspielter Mini-Soundtrack: eine anmutige Pianomelodie, unterfüttert mit wilden Trap-Beats und ruhigen Streichern – und das fast wie ein Schlaflied wirkende „Stay A Child“. „Ich wollte einen Teil von dieser verlorenen Unschuld zurückholen … diesen Augenblick, wenn man einfach nur aus purem Vergnügen Musik macht.“

Wieder zurück im eigenen Home Studio auf den Philippinen angekommen, dort sogar ohne Wlan und zunehmend abgeriegelt durch internationale Lockdown-Maßnahmen, war FKJ nun tatsächlich abgeschnitten vom Rest der Welt. Was auch bedeutete: noch weniger Ablenkungen. Es war die ideale Gelegenheit, um ganz allein die endlosen Möglichkeiten der Musik zu erkunden. „Manchmal habe ich die ganze Nacht durch an den Songs gesessen und bin erst ins Bett gegangen, als schon wieder die Sonne aufging.“ Dieser unbefangene Ansatz war entscheidend: Basierend auf dieser Freiheit ist ein expressionistisches, wirklich berührendes Album entstanden, das man unmöglich einordnen kann. Auch versteckt sich FKJ nicht mehr hinter irgendwelchen grünen Zweigen, wie er es auf dem Cover seines Solodebüts getan hatte: Mit „V I N C E N T“ tritt FKJ heraus aus dem Schatten und zeigt sich, seine Stimme als Musiker, seinen Sound. Indem er Saxophon und Klavier aus Late Night Jazz-Sessions mit geerdetem Flüstergesang (à la Bon Ivers Frühwerk) und Gitarren à la Santana zusammenbringt, gibt er sogar dem schwierigen Begriff Chillout Music eine ganz neue Bedeutung.

Während weite Teile von „V I N C E N T“ vor allem romantisch klingen, geht’s ab und zu auch richtig sexy zu, dann wieder verträumt, den Kopf hoch oben in den Wolken – wie etwa bei „Us“, den er seiner Frau June widmet. „ihm“ kommt mit Nineties-Hip-Hop-Einschlag daher, wobei er jedoch immer weiter das Tempo drosselt und das Licht dimmt. Genau genommen doch nicht 100% solo eingespielt, hilft ((( O ))) schließlich beim Song „Brass Necklace“ aus – was ähnlich eindringlich klingt wie The Internet oder die Keys, wenn Stevie Wonder sie spielt. Zusammen mit Toro Y Moi setzt er für die Leadsingle „A Moment of Mystery“ auf astreine Space-Trip-Vibes, die tatsächlich aus nicht ganz nüchternen Parallelwelten stammen: Während der Arbeit in San Francisco tranken FKJ, Toro und dessen Keyboarder Tony eine Flüssigkeit, die Tony als „heiliges Wässerchen“ bezeichnete … „Wir teilten uns dann die ganze Flasche, was in einen ziemlichen Trip mündete“, erzählt FKJ und lacht. Zurück in der Realität, ist das Ergebnis dieses Trips eine sanfte Electro-Ode auf dauerhaftes Liebesglück. Vor allem ist es ein Track, der in Sachen Eingängigkeit und dezentem Prog-Faktor selbst Tame Impala in nichts nachsteht.

Auch Yukimi Nagano (Little Dragon) ist am Mikrofon zu hören – auf dem umwerfenden „Can’t Stop“ –, und mit „Let’s Live“, einem treibenden Technopop-Song, in dem Handclaps, Klavier und Vocals perfekt miteinander verschmelzen, besinnt sich FKJ noch einmal auf seine Anfangstage zurück, als seine Produktionen noch größtenteils ins Dance-Genre passten. Obwohl er immer wieder Kategorien aufsprengt und seine Stücke kontinuierlich mit neuen Ideen erweitert, wirken die Tracks nie aufgeblasen, nie zu dick aufgetragen. Trotz der Vielschichtigkeit wird einem nie schwindelig.

Insgesamt ist „V I N C E N T“ ein kleines Wunder. Es ist der Beweis, welche Magie entstehen kann, wenn man nur tief genug gräbt, Inspirationen lange genug reifen lässt. „Das war schon eine echte Herausforderung, diese Platte aufzunehmen“, sagt er abschließend. „Ich bin nun mal eigentlich ein Perfektionist – und das kann man nicht einfach so abschalten. Als ich es dann jedoch geschafft hatte und die Musik selbst tonangebend war, fühlte ich mich mit einem Mal vollkommen frei.“