This is a singular album in the Cocteau Twins catalog, unusually ethereal even by their standards. The majority of the instrumentals are improvised on piano/keyboard by the late Harold Budd, a pioneering ambient legend and pianist known for his numerous collaborations with Brian Eno, who joined the band as if by divine intervention. The album conta ...Read more (Original Japanese text by COMPUMA)ins eight tracks, including Cocteau Twins' signature track, A1 "Sea, Swallow Me". Includes eight tracks, including Cocteau Twins' signature song, A1 "Sea, Swallow Me". (Original Japanese text by COMPUMA)

FINIS AFRICAE, which also featured JAVIER BERGIA—one of the key figures in the Spanish Balearic sound. Their album Amazonia was released in 1990. It features an exotic, imaginative sound that incorporates field recordings! (Original Japanese text by Saito)

This album was released in May 1982 as one of the landmark first releases from YEN, a new record label founded in 1982 by Haruomi Hosono and Yukihiro Takahashi, alongside Haruomi Hosono’s Philharmony. (Incidentally, the label’s third release was Yukihiro Takahashi’s “What, Me Worry?”) Produced by Yukihiro Takahashi, Haruomi Hosono also participated ...Read more as a musician on several tracks. Ryuichi Sakamoto also contributed to this album as an arranger and performer.
Although he had been a guitarist with the Plastics, he switched to the saxophone after the band’s breakup. This album is a pivotal work from the period when he was active as a member of Ryuichi Sakamoto’s “B-2 NUIT” and was striving to establish his own musical identity as a solo artist and saxophonist, incorporating performances on his original, self-made instruments “ALPS” and “ALPS2,” it strikes an exquisite balance between a post-classical, contemporary musical approach and pop/listening music, making it a one-of-a-kind, unique, unclassifiable masterpiece of instrumental music.
The typography and cover design, created by Ryuichi himself—which foreshadowed his later win of the prestigious ADC Award for graphic design—also became a major talking point at the time of the album’s release.
Hajime Tachibana, hailed as one of the “Big Three of Techno-Pop,” has been active not only in music but also in the field of graphic art for over 40 years since his solo debut in 1982, following the breakup of The Plastics. Following the release of his all-time best album hajimeht in January 2025, his classic YEN-era albums H and Hm were simultaneously reissued on CD and LP. Both have been remastered by Yoshinori Sunahara.

Yukihiro Takahashi returns as producer for this album, following his work on the previous release, H. While building on the foundation of its predecessor, this album takes the saxophone ensemble to new depths, blending the concept of a retro-futuristic, fictional sci-fi movie soundtrack with the nostalgic, imaginary world evoked by the children’s s ...Read moreongs the artist listened to in his youth—resulting in a one-of-a-kind postmodern classical and contemporary music approach—a blend of the retro-futuristic concept of a fictional sci-fi movie soundtrack and the nostalgic, imaginative worldview inspired by the children’s songs he listened to as a child—and the sparse, funky, experimental, new wave, and dub-infused soundscapes reminiscent of The Flying Lizards by the genius David Cunningham, making for a fascinating modern instrumental album. Furthermore, the YMO-esque return to techno in the sound design—which leads into the follow-up album Mr. Techie & Miss Kipple—is also highly intriguing. Track B2, “ARRANGEMENT
,” is a cover of a Ryuichi Sakamoto song, and Track B5, “THEME FROM ‘NIHON NO SUGAO,’” is a cover of a Isao Tomita song.
Hajime Tachibana, hailed as one of the “Big Three of Techno-Pop,” has been active not only in music but also in the field of graphic art for over 40 years since his solo debut in 1982, following the breakup of the Plastics. Following the release of his all-time best album hajimeht in January 2025, his classic YEN-era albums H and Hm are being simultaneously reissued on CD and LP. Both have been remastered by Yoshinori Sunahara.

こんな素晴らしい音源があったとは！CHANNEL ONEにてTOMMY McCOCK, Ernest Ranglin,SCIENTIST達ジャマイカン・アーチストと録音したウィスパーヴォイス・レゲエのカルトな名盤「WALATTA」をリリースしたBRENDA RAYが遡って80年代前後に残していた音源をEM RECORDが再発。ブリストルでON-U周辺が動き出したのと同時期にこんなアーチストがいたとは驚きです。NEW WAVE, 打ち込みREGGAE, DIY POP。カセットや7インチでリリースされた音源や、未発表におわったレア音源をコンパイルしたアルバム。手作り感覚なサウンドの魅力に溢れた一枚。 (サイトウ)

It was also the landmark first release on his own label, Piano, which would go on to issue any number of unique classics by This Heat, General Strike and more. Then an art school student, Cunningham made the record with school friends (non-musicians), deploying glockenspiel, synthesizer, percussion, tape recorders, guitar, bass, piano, violin, wate ...Read more (Original Japanese text by COMPUMA)r sounds and more in a small-ensemble, DIY homemade setting — improvisation and repetition born of raw first impulse, fumbled notes caught mid-performance, and sound collage, all pulled into shape with a fresh, budding sense of experimental minimalism and sheer ideas. A never-fading masterpiece from the eve of new wave, a gray-toned post-punk avant-garde honor whose free feel, halting hesitancy and innocence hit you right in the heart. An essential work with affinities to early Pascal Comelade. (Original Japanese text by COMPUMA)

A1 "Simply Nothing" pairs ethereal vocal electro with retro-futurist analog synths for a nu-disco feel. The remix by Australian duo Hybrid Man, who also release on SLEEP D's BUTTER SESSIONS, weaves in breakbeats for a proto-trance rave treatment. B1 "The Lotus & The Banksman" is mutant breakbeat techno, with ethereal pads and dubby textures ripplin ...Read more (Original Japanese text by KANO)g across the surface over a writhing bassline. The Mayurashka remix, which pushes things further toward the house dancefloor, is equally fresh. (Original Japanese text by KANO)

高田みどりや福居良の再発も手がけたオブスキュアリイシュー専科〈WRWTFWW〉より。DANIELE BALDELLIやBEPPE LODAにスクリュープレイされるコズミック古典「Film 2」で幕開け、ギターとシンセサイザーのリフのコンボは１度聴いたら忘れることのできない最大ヒット「Eisbär」(sample1)、NW/ポストパンク編集盤に収録された「Raum」など。ポストパンク~コールドウェイブ、ニューウェイヴ、レディオフォニック・ワークショップスタイルの実験音楽を展開したカッティングエッジなオリジナルアルバムに加えて、その短命な活動期間に製作発表した19曲もの楽曲を網羅した豪華な再発盤。 (Akie)

Aサイドはフレンチ・デュオPILOTWINGSの片割れJonqueraによるもの。ハーディ・ガーディを用いられたライブ感溢れる催眠的スローセッションと、トレインスポッターな退廃的ニューウェイヴの2曲を収録。B面はTolouse Low Traxが得意とする様々なサンプルを駆使してハイセンスにまとめ上げられたレフトフィールドダンス。捩れたベースラインを用いたソリッドなリズム構成がイルなB2。 (KANO)

Around 116 BPM: a scandalous electro-pop disco-boogie mid-tempo disco treasure, with sexy rapped French vocals that come off like a softer, French-sophisticated take on Sexual Harassment's "I Need a Freak." The reverse-tape dubby section in the middle feels great too. The instrumental A2, "L'amour d'une diva - Instrumental," is nice as well.
At ...Read more (Original Japanese text by COMPUMA)123 BPM, the melancholic Euro-disco / new wave and even more erotic B1 "J'adore" (sample3) is included in its long version. On top of that, there's a brand new instrumental dub version, B2 "J'adore - Platja Nord Dub."
Released by Srima Records, the acclaimed independent label based between Paris, Grenoble and Réunion, which has been carefully reissuing hidden gems of French Caribbean dance music such as "Jimmy Blanche - Dou Van Jou" and "Ulysse-Jean Rosemond - Naïma / Tiers Monde." (Original Japanese text by COMPUMA)

上記他にも〈PHILOXENIA〉〈REHEAT〉〈LIFEWATER〉といったエレクトロ人気レーベルを総嘗めにしてきたPHASE O'MATIC、今回も催眠特化型のエレクトロをレトロフューチャー志向で探索！アメーバ状のアシッドシンセそしてレイブレイクスのビート展開技がうますぎする「Chemical X」(sample1)がおすすめ。。ニューウェイブディスコフレーバーをエレクトロに落とし込んだ「New Crusade」(sample2)など、ノスタルジックレイヴ〜アシッドを巧妙にモダン転用。現状データ販売見つからずです。 (Akie)

A reissue spotlighting ALFREDO PERIA, one of the pioneers of the Latin American underground movement dating back to the 1980s! Active in the mid-'80s as the techno duo MIMILOCOS and signed to majors like POLYGRAM and BGM in the '90s, he's a key figure spanning a wide range of Latin American genres. Our pick is "Yo Soy Su Cuba (3.0 Adicta Mix)" (sam ...Read more (Original Japanese text by Akie)ple1), an electro-pop cut built from an original '80s demo, with sticky, viscous new wave vocals that'll get you. Also fierce is "Castillitos De Arena" (sample2), a 1987 experimental minimal wave piece long a live favorite but officially released here for the first time — its obsessive streak recalls Japanese new wave pop and is irresistible. Plenty of tracks pressed to vinyl for the first time. The depth of the Argentine underground is seriously something else... (Original Japanese text by Akie)

80年代~90年代あたりのイタロディスコ、ユーロディスコ、UKソウルやラヴァーズ・ロックを思わせる清涼感たっぷりのトロピカル・ドリーミーなディスコ・サウンズもほっこりユニークなイタリア・ナポリのブギー、ディスコ、シンセファンク界を担うPeriodica Records創設者Dario di PaceによるプロジェクトMystic Jungleによるニューアルバム。バレアリック・コズミック・トロピカル悠久エキゾチック・ディスコ・ユニーク世界。全9トラック。RHYTHM55スカスカ・ビートとLaid Backばりのブルージー親父哀愁の味わい深いニューウェイヴディスコ・ダブワイズB3「The Road」（sample2）、ラスト、なんちゃってSADE風のUKソウル・ユニーク・ダブ・ディスコB5「Sunset Breaker」(sample3）も最高なんです。 (コンピューマ)

Venus II's "Oh Boy," produced in 1987 by Paul Robb of Information Society, fellow Minneapolis electro-pop pioneers. Cutting-edge sound that carries on the production style of Information Society — still revered today for tracks like "Running" and "Pure Energy" — with mid-tempo grooves, synthesizers, electro-funk and dub, plus mix work that really s ...Read more (Original Japanese text by Saito)hines. The remix comes from Justin Strauss, who launched his career at MUDD CLUB, the legendary venue at the heart of the no wave and '80s art scenes, has been active for over 30 years, and now also works as WHATEVER/WHATEVER — and it's superb. (Original Japanese text by Saito)

"From glittering pop tunes that sound like the Vaselines eating peyote and turning into the Three Amigos, to melancholy lounge numbers that evoke a nostalgia for the days of the Aztec Empire, the way they barrel ahead on KORG synthesizers and drum machines is bursting with originality!" — Tamotsu Mochida

"Under the dictatorial regime of the ...Read moreNational Revolutionary Party, in a 1970s where young people could get bloodied just for playing music, Alex Ice & Drink (real name Alex Eisenring) had been active — and in the early 80s, amid Mexico's currency crisis, he unleashed his passion and rage onto synths and drum machines, and Syntoma was born. Syntoma was a trio: Alex, his wife Cynthia Napalm, and their friend Bernardo Gonzalez. They put out overdose-flavored electro reeking of the underground, topped with Cynthia's angry, rattling vocals and their Latin-accented melodies, into a parched Mexico sliding ever further into lawlessness. Influenced by this band, a self-released indie and underground scene emerged in Mexico. This release compiles tracks from their albums, singles, and unreleased material. The CD version includes 2 bonus tracks. Mastered from the fortunately surviving master tapes, high sound quality guaranteed." — EM RECORDS

〈PINCHY & FRIENDS〉からのアルバムも素晴らしかったAARON COYESによる注目ソロプロジェクトEXOTIC GARDENS、発売が延びていたEP作品が遂に店着。PEAKING LIGHTSとしても追求してきたマッドでキャッチーなダブを進化。時代を超越したポップなフックとタイトなグルーヴが織りなすニューウェイブ「Drugs & TV」に始まり、深いFXでサイケデリックに揺れるダブポップ「Last Of The Light」や、303×909を駆使した約10分に及ぶダブハウス作品「Organize Your Movement」など。重厚さとポップネスを兼ね備えるダブマッドネス。 (Akie)

ポルトガルの才人Guido Craveiro率いるDubXanneによる2023年のアルバム『Popwave In Dub』からの7インチ・シングルカット。A面は、キュートなダンスホール・スタイリーなアレンジもグッとくる、1979年の世界的大ヒットにしてその後多数のカバーを生んだThe Bugglesの"Video Killed The Radio Star"「ラジオスターの悲劇」のダブ・カバー。B面はNetflixの人気ドラマ『ストレンジャー・シングス 未知の世界』をきっかけに人気再燃した、Kate Bushの1985年のヒット曲"Running Up That Hill"「神秘の丘」、それぞれ原曲への愛情があふれる好ナイスな名ダブ・カバー。レコメンド。 (コンピューマ)

80年代に遡るアーリークラブカルチャーと美学、サウンドを探求してきたチューリッヒ拠点INNUENDOによるファーストEP。歯切れの良いドラムと擽るアシッド、NWボーカルもレイヤーしたシンセディスコ「Painful Disguise」(sample1)。ディスコティークなベース、イナたいダークトーンのシンセが相性バッチリな「LET GO」(sample2)など、レトロなクラブサウンドをニューウェイヴな切り口で蘇生。 (Akie)

YMOのツアーサブメンバーでもあった橋本一子とパートナー藤本敦夫。まずは日本産オブスキュア・レア・グルーヴとして海外からも人気の高い「Heatbeat」(sample_1)。シンセサイザー、エレクトロニックなビート、部族的かつPLASTIC、80sモダンな不思議な感触のコーラス。ニューウェイヴ/シンセサイザーの大名曲です。冒頭のタイトル曲「Colored Music」も、ファンクビート、アフリカンやロックの要素、。エコー空間と独特のコーラス、ヴォーカルワークの名曲。 (サイトウ)