Featuring 14 tracks by 14 artists, this collection is brimming with the nostalgia and melancholy of the unique world of Greek music—from exhilarating improvisations based on the pentatonic scale characteristic of Mediterranean Greek music and rhythms in irregular time signatures, to songs ranging from heart-wrenching laments to joyous celebratory h ...Read more (Original Japanese text by COMPUMA)ymns.
The artwork is based on Edward Lear’s painting Agia Paraskevi, Epirus, Greece (1857). (Original Japanese text by COMPUMA)

This is a collection of captivating, improvisational vocal performances—rich in melisma (ornamental melodies)—carefully selected from SP records produced from the mid-1920s to the mid-1930s. This era was marked by the aftermath of turbulent events, including the dissolution and partition of the Ottoman Empire, the Greco-Turkish War, and the subsequ ...Read more (Original Japanese text by COMPUMA)ent forced population exchange.

It was also a period following the establishment of the Republic when efforts to Westernize the nation’s music were being vigorously pursued. Traditional music education was banned in schools, and later, the broadcast of classical Ottoman Turkish music on the radio was completely prohibited. As a result, these songs feel like relics of an even more distant past, while at the same time evoking a very close connection to the Greek “Amanes” and “Rebetiko.” This is because they all trace their origins to the same “maqam” system of the Ottoman Empire and share themes of lost love, longing, and pain. (From the label information) (Original Japanese text by COMPUMA)

Bruno Pernadas is a composer, producer, and multi-instrumentalist. His body of work, which fuses the experimental spirit of jazz, improvisation, Latin, exotic, and electronic music, has been described as “sounding like the contents of a record collector’s suitcase turned upside down after a trip around the world*,” garnering enthusiastic support fr ...Read moreom rock and indie enthusiasts to world music fans alike. He can certainly be considered one of the leading artists of contemporary Portugal.

His first new album in four years, released by 〈Pataca Discos〉, was recorded in the summer of 2025. It features nine original tracks that blend rhythm sections, brass, woodwinds, vocals, and electronics. As with his previous works, Bruno takes on many roles—including writing lyrics, composing, and producing—with the exception of one track co-written with Rita Westwood, a regular collaborator on his projects.

Meanwhile, the previously released tracks “Steady Grace” and “Juro que vi túlipas” offer a glimpse into Bruno’s new artistic vision. A defining feature of these tracks is the presence of guest vocalists. Maya Brandi, who lends her voice to “Juro que vi túlipas,” is joined by Leonor Arnaut and Livia Nestrovski from Brazil as guest artists. The keyboard and vocals of long-time collaborator Margarida Campello also add a distinctive touch to the overall sound.

It masterfully updates traditional Moroccan/Berber rhythms and instruments into a dance-oriented style. The production—which doesn’t stick to even kicks and isn’t afraid of high-speed rhythms—brings to mind artists like Clap Clap. It also has a wild, unrestrained energy you don’t find in South American music. It’s a fresh take on the best elements ...Read moreof the “Tropical Tribal Bass” genre, a niche that’s been somewhat neglected for a while. I bet a lot of people have been waiting for something like this! I’m looking forward to the full album. That said, ON THE CORNER—the label that’s introducing acts like Denge 3—is definitely one to watch, with releases that have even impressed world music veterans. (Shhhhh)

*There is slight wear on the top edge of the sleeve. We sincerely apologize for this and ask for your understanding.

This work combines sound materials built around flute, EWI (a wind-style synthesizer), and rhythm-driven electronic music inspired by belly dance beats with the 1975 record Chants Révolutionnaires d’Oman, which features the voices of Oman’s revolutionary youth. Side A is dedicated to the children of Gaza, an attempt to convey hope and resilience by ...Read more (Original Japanese text by Adachi) borrowing the voices of Omani children. Side B is darker, taking on a funereal tone that reflects the escalation of the situation since October 7. The adolescent voices give way to adult voices, and the addition of Philipp Selalmazidis on trumpet adds a sense of tension. An ethical stance that avoids using recordings of the ongoing genocide and refuses to reduce suffering to a spectacle. A work in which listening becomes an act of witnessing. With serious situations persisting not only in Palestine but around the world, this is an album I want to slip into my record bag as a small act of resistance. (Original Japanese text by Adachi)

From *MUSIC FROM MEMORY*—which continues to unearth wonderful gems of New Age, ambient, and synthesizer music—comes a compilation centered on late-’80s recordings by Italian synthesizer player ROBERTO MUSCI, whose work is also connected to *FINIS AFRICAE*! (Original Japanese text by Saito)

マフト・サイ主催のイベントParadise Bangkokから派生し、来日もしているバンドの現時点での最新作。本作ではより深くイサーン音楽のルーツへと分け入り、ヴォーカルや木琴系のポンラーン、リード笛ピー、弓奏リュートのソーといった伝統楽器奏者を迎えたアンサンブルを展開。「Zud Rang Ma」ではNYポストパンクへのオマージュを、「Psych Lam Kor」ではインド洋周辺地域のサウンドへの接近を見せ、バンド独自のモーラム解釈をいっそう豊かにした到達点。親交の深い、『バンコクナイツ』でもおなじみ映像制作集団空族の新作公開と特集上映も近々ありますね。 (足立)

From Japan, there's even George Yanagi's "Matsuribayashi ga Kikoeru no Theme" (sample2), the theme song to the drama starring the late Kenichi Hagiwara. Despite the selection spanning wildly different tracks from across the world and across eras, the exotic, soulful ease and just-right feel that only they could pull off comes through beautifully — ...Read more (Original Japanese text by COMPUMA)as you'd expect. Courtesy of the label, an original poster is included on a first-come, first-served basis (offer ends once supplies run out). Black vinyl, 180g heavyweight 2LP, with mixed/unmixed download code. Please check out the tracklist as well. It's great that each of the 14 tracks comes with download data too. (Original Japanese text by COMPUMA)

It’s so reminiscent of urban pop songs from Thailand’s 1950s through 1970s—you might mistake it for a rediscovered Luk Krung track. Chintamani / Чинтамани (sample 1)—with its blend of European modern sensibilities, Asian humidity and allure, and dreamy, nostalgic, androgynous vocals—was a real shock when I first heard it.
“Selenge / Сэлэнгэ” (s ...Read more (Original Japanese text by Shhhhh)ample 2) is an instrumental track featuring the Yatga, a traditional Mongolian string instrument. This one seems like it could work in all sorts of situations, too!

Its scope is vast, ranging from BIG CROWN-style Chicano vintage soul to Kruang Bin and EM Records-style reissues of Thai and world music. Yet it’s simply just great music… Who would have thought that the nostalgia of Asian pop and vintage soul could blend together so seamlessly? There’s a subtle sense of freshness, too.
It seems perfect for listening at home in the dead of winter, for spring outings, and even for summer outdoor events. And of course, DJs—this would be great for lounge sets, too. Keep it in your record bag at all times. It’s ready to go right away. Absolutely flawless. Will the next release be an album? A new character has arrived. (Original Japanese text by Shhhhh)

ナイジェリアの奥深くで彫られた手作りによる力強いパーカッション群、4年の歳月をかけて、このアルバムをプロデュース作曲、ナイジェリアとイギリス両国から精鋭ミュージシャンを集めてレコーディング、オーバーダビングを自ら手がけて作り上げた7曲を収録。
ナイジェリアの豊かなパーカッション・スタイルと、この時代を反映したソリッドでポストパンクでアヴァンギャルド実験的精神、ファンク＆ソウル、ロックやジャズ・フュージョンの独自の融合が試みられたカリビアン・ダブワイズも香しい。
当時アフリカのレコードとしては珍しくJohn PeelやJanice Longといった伝説的DJ達のラジオ番組でプレイされたことでラフトレードでの流通が開始されたというのも素敵な話。 (コンピューマ)

After studying Islamic mysticism and religious songs in what is now Pakistan, he moved to the Iberian Peninsula in 1932 in search of work and music. Captivated by the “profound songs” of flamenco, he became a disciple of the great maverick singer Pepe Marchena, He subsequently devoted his life to flamenco, developing a sophisticated theory regardin ...Read more (Original Japanese text by COMPUMA)g its origins in South Asia and Sufism, which he disseminated through live performances and publications in London, Spain, and Pakistan. It is said that, even before the field of ethnomusicology had emerged, he explored his own unique performance style while researching the connections between these entirely different musical traditions.
In this album, she seamlessly blends Sufi poetry in Persian, Sindhi, Hindi, and Arabic with various Andalusian flamenco songs in Spanish, accompanied by a single guitar, creating a one-of-a-kind rhythm, seamlessly fusing them. Her voice quietly and deeply conveys not only the ecstatic, trippy sensation of Sufism—the inner spiritual practice of Islamic mysticism—but also, through the soul of flamenco, the anguish of life, love and sorrow, raw emotions, and passion—all the way to the depths of the human heart. This collection features eight tracks from the only extant recordings of Asis Barouchi: two 7-inch EPs released in Spain in 1962. (Original Japanese text by COMPUMA)

ノーザンソウル・コレクターでありHI-NRGスタイルの生みの親といわれるIAN LEVINEがプロデュースを手掛けたロフトクラシック〜セオやKDJらもプレイしている、EASTBOUND EXPRESSWAYの”Never Let Go”。コズミック系譜でも人気のリヴィア出身のニューウェイヴ・アイコン・AHMED FAKROUNによる”Soleil Soleil”をヒップにボトム強化した”Libyan Sun”も最高！”Kilimanjaro My Home”でオナジミのEKO ROOSEVELT LOUISがカメルーン文化省が制作指揮したボックスセット「LES FLEURS MUSICALES DU CAMEROUN」に提供した”Tondoho Mba”のエディット”Don’t ...Read more Oho”(sample2)も、コーラスとベースラインのパンチのあるフックで長くプレイできそうな、全４トラックを収録！

▫️information▫️
『Having previously released selected retrospectives focused on the musical output of Ryo Kawasaki and Joan Bibiloni, NuNorthern Soul has now turned its attention to the vast back catalogue of Jasper Van’t Hof’s pioneering electro-acoustic, Afro-fusion collective, Pili Pili.

Best known to Balearic DJs and li ...Read moresteners for the epic title track from 1984 debut album Pili Pili – a track reissued by NuNorthern Soul in 2024 with a fresh re-edit by label regulars Coyote – the European-African collective became world-renowned not just for the unique, cross-cultural sound of their songs and instrumentals, but also the dynamism of their freewheeling, partly improvised live performances.

The band was established in 1984 by Van’t Hof, a Dutch pianist who began his career in Europe’s jazz scene of the late 1960s, as a way of combining his love of jazz-fusion and the music of North-West Africa. Van’t Hof already had a reputation for combining roles in traditional jazz combos with more experimental and abstract projects. These included a spell in violinist Jean-Luc Ponty’s first band, years spent masterminding jazz-rock outfit Jasper Van’t Hof’s Porkpie, the recording of an all-electronic album (1982’s Visitors), and a celebrated collaborative live album with the great Archie Shepp, Mama Rose.

Pili Pili, though, was another step forward for Van’t Hof. Working with percussionists and vocalists from Benin and Mali (including the now legendary Angelique Kidou) and a string of adventurous jazz soloists (saxophonist Tony Lakoto and trumpeter Annie Whitehead included), Van’t Hof’s collective frequently combined live and programmed percussion, electronic and acoustic instrumentation, and the talented improvisor’s own memorable melodies and impactful solos.

NuNorthern Soul’s retrospective focuses on the most productive and celebrated period of Pili Pili’s near three-decade history, showcasing tracks originally recorded and released on studio albums released between 1984 and 2002. The six tracks on show offer an essential glimpse into the musical gold to be found across the Pili Pili catalogue.

It begins with the infectious energy and restless percussion of ‘Ile’, an Afro-fusion-meets-electro-rock masterpiece from the band’s 1984 debut, and ends with the ultra-deep bass, gentle acoustic guitars, colourful synths and melodious kalimba sounds of 2002’s ‘Soubatcha’. In between, you’ll find the synth-pop-infused, electric guitar-sporting joy of ‘Jakko Jakko’ (1987), the stripped-back and drum focused ‘Life Size’ (also 1987), the jaunty bliss of ‘Hippo Hips’ (1992), and the cowbell-powered Afro-jazz-fusion brilliance of 1985’s ‘My Gongoma’.

In keeping with NuNorthern Soul’s previous retrospectives, the vinyl version of Selected Works 1984 - 2002 comes with extended liner notes telling the remarkable story of this most unusual of cross-cultural collaborations. These feature extensive quotes, reflections and memories from Jasper Van’t Hof and were written by music historian Matt Anniss.』

20年以上にわたり電子音楽と北アフリカ／アラブ音楽を融合させ、ジャンルを横断しながら、世界各地のアーティストたちと共に実験的なサウンドを追求してきたナターシャ・アトラス。その歩みは真の多文化主義を体現した成果であり、アラブ文化の豊かさと普遍性を示すものでもある。そして、その中心にあるのは、メランコリックでありながら情熱的、メロディの細やかな揺らぎを自在に操る彼女の唯一無二の歌声である。
ベルギー出身で、エジプト、パレスチナ、モロッコにルーツを持ち、ブリュッセル、エジプト、ギリシャ、イギリスといった国々で生活してきた彼女の多文化的な背景は、その音楽性に深く反映されている。フランスの音楽賞「Victoire de la Musique」をはじめ数々の受賞歴を誇り、2000年のエジプト・ピラ ...Read more (コンピューマ)ミッドでのジャン＝ミシェル・ジャールとのミレニアム・コンサートなど、世界的なイベントでもヴォーカリストとして招聘されてきた。また、『セックス・アンド・ザ・シティ2』『ハルク』『キングダム・オブ・ヘブン』など、数多くのハリウッド映画のサウンド・トラックにもその声が刻まれている。
2005年5月にリリースされた『The Best Of Natacha Atlas』が、リマスターを経て初のアナログ盤としてリリースされる。当時のリリースに際して、ナターシャは「ただのベスト盤にはしたくなかった」と語り、いくつかの楽曲を再録・リワークすることを選んだ。ジェームス・ブラウンの「(It’s a Man’s Man’s) Man’s World」、フランソワーズ・アルディの名曲「Mon Amie La Rose」、ジェームズ・ボンドのテーマ「You Only Live Twice」、スクリーミン・ジェイ・ホーキンス「I Put A Spell On You」など、彼女ならではの解釈で蘇ったカヴァー曲も収録されている。（メーカーインフォメーションより） (コンピューマ)

歴代のアーチストの遺産を丹念に再解釈、荒げずな打ち込みビート、イマジナリーで夢想的なサウンドに激しいドラムプログラミングの対話によって2つの異なる傾向が共存する感覚を表現するという、なんともユニーク、奇才な、発想。中東エキゾチックなフィールドレコーディング、辺境ダウンビートありと交互に再生される曲順、こだわりに感動。おすすめの「Kiarostami'S Stash」(Sample1)に特殊フィールドレコーディングの「May Plastic Blossom In Spring'S air」(sample2)ダンスホールの「kick it until it's bent」(sample3)のホーンも途中のラジオネタも最高にいい感じ。トラックリストからも試聴できます。リスニング、プレイ両方に重宝する名作。 (hamon)

自主のアルバム「Cumbia Acida」で、デビュー、ミュージシャンとしてもFrente Cumiero周辺でも活躍してきたEl Leon Pardo。フォルクローレをベースに、ジャズ、ダブ、アフロ・コロンビア、コズミック、宇宙的で、神話的、リチュアルな要素も感じ取れるサイケデリック中南米音楽。Frente CumbieroのMario Galeanoが全面参加、ボコダのラッパーN.Hardem、オルタナティヴなフィールドから、演劇、オーケストラのフィールドでも活動の幅を広げているEdson Velandiaなども参加しています。OPAなどの全盛時代にも通じる魅力です。 (サイトウ)

ここでは、番組開始からMAHJUBIが亡くなる1965年までの間にGolhaで放送された、MORTEZA MAHJUBIによる独自のチューニングによる見事な白昼夢のような夢見心地ペルシア伝統音楽ピアノ即興曲を集めたもので、ほとんどがソロ曲となっているが、tombakやviolin 詩の朗読を交えたスピリチュアルで神秘的な演奏も収められている。ぜひともアナログならではの音質でもお楽しみください。 (コンピューマ)

20世紀の終わりまであとラスト1ミリというタイミングで彗星のように出現し、アルゼンチンの音楽という聴きなれない括りを知らしめ、我々今の耳を作ったのはこの盤（とモノ・フォンタナ"CIRUELO"）です。この不思議な色気と浮遊感はあらゆる00年代~のSSWに影響を与えたであろうもちろん今に通じるスタンダードへ。土と星の匂いのするサイケデリック感はむしろダンスミュージック好きに先に受け入れられました。ノスタルジック感ゼロ。21周年らしいが、そんな時間の感覚さえ掴み切れず逃げていく。
"バルセロナのソナー・フェスに出演後にアレハンドロ・フラノフ（アルバム参加）はそのままマヨルカにいる弟に会いに行き、先にブエノス・アイレスに戻り予定されていた公演の準備をしていた彼女は不安になり、アレハンドロに電 ...Read more (Shhhhh)話すると「もう独りでステージに立ったほうがいい」と言われ、激怒。アレハンドロは90年代にシンセサイザーを持って私の前に現れ、扉を開けてくれた。そして、私を置き去りにして、次なる扉を開いてくれた。"
という寓話のようなエピソードなど。 (Shhhhh)

The album was produced by Grammy-winning producer Kid Harpoon (Harry Styles, Miley Cyrus). Arrangements for the twelve tracks were handled by members of the New York-based chamber ensemble Ghost Train Orchestra.
His first album since 2018's Grammy-nominated "American Utopia," the record features a wide range of guests, from longtime collaborator ...Read mores to new musical friends, including St. Vincent, Paramore's Hayley Williams, The Smile drummer Tom Skinner, and percussionist Mauro Refosco, who also appeared on "American Utopia."
In 2023, as the "American Utopia" era—which began as an album tour and grew into an acclaimed Broadway run and then a Spike Lee-directed HBO film—drew to a close, he began little by little to jot down grooves, chords and fragments of melody for the first time in a while. The three years just prior had been full of upheaval, and during that time he had also been stockpiling lyrical ideas and phrases. "I realized that when it comes time to actually start making something, it's easier to begin if you have a bit of material saved up. And before I knew it, I had quite a lot. Very simple songs started to emerge, little by little—me playing acoustic guitar and singing over loops and beats." With the world, and the Broadway run of "American Utopia," forced to a halt, he, like so many others, found himself with time to ask questions. "Is what I'm doing really what I love? Why am I writing songs? Why am I doing this job? Is there any meaning in it at all?"
"Who Is The Sky?" is packed with his own answers to those weighty questions, and the record further develops the "optimistic themes" laid out so clearly in "American Utopia," its tour, and the Grammy-winning Broadway show and film. Through this work he continues to pursue human connection and the possibility of social solidarity in a chaotic world. "Who Is The Sky?" is deeply cinematic, funny and full of joy, while often carrying a message as well: "love can't be explained," "enlightenment means something different to everyone," and "whether or not your skin looks like a baby's the next morning, you're better off moisturizing." Above all, the album once again highlights David Byrne's rare gift for balancing the avant-garde and pop accessibility on a knife's edge.
According to Byrne, "Who Is The Sky?" contains "more 'story songs' than ever before." Each is structured like a "mini-story drawn from personal experience," such as:
"She Explains Things to Me" (why is it all so obvious to her?)
"A Door Called No" (a kiss he receives mysteriously opens that door)
"My Apartment Is My Friend" (I've shown it my worst / and we're still always close)
"I Met the Buddha at a Downtown Party" (a scene at a party where a former spiritual leader is more interested in unhealthy desserts than in being deified), and more.
A self-professed stickler for grooves, David Byrne welcomed late-stage contributions from Tom Skinner and from Brazilian percussionist Mauro Refosco, with whom he has recorded and toured for over 30 years. Mixed by Mark "Spike" Stent and mastered by Emily Lazar, the finished record, in his own words, "contains both concealment and exposure." "This album is also a chance to become the 'mythical being' that everyone holds inside, a chance to step out of reality and into another world. In other words, it's an attempt to transcend and escape the prison of the 'self.'" That concept runs strongly through the entire packaging of "Who Is The Sky?" The artwork was created by Shira Inbar, with David Byrne all but obscured by radiating color patterns and a psychedelic, thorn-like costume by Belgian artist Tom Van der Borght. A "Who Is The Sky?" tour is planned for later this year, with a 13-piece band (musicians, singers and dancers) including members of "American Utopia," all moving freely around the stage.
*From the label information

We start with Alain Peters, a guitarist from Réunion Island in the Indian Ocean who has also released a compilation in collaboration with 〈Moi J'Connais〉, followed by bands influenced by African, Turkish, North African, Maghreb, Southeast Asian, Middle Eastern, and Arab music—such as Altin Gun, the Mauskovic Dance Band, Cyril Cyril, and Yin Yin—all ...Read more regulars on the Bongo Joe label—as well as the Meridian Brothers from Colombia, the Spanish industrial legends Esplendor Geometrico, and the Swiss ’80s experimental band Dressed Up Animals. From world music to new wave and psychedelic rock—though the regions vary, there’s a consistent sense of dance throughout. Be sure to check it out. (Saito)

*Please note that the album cover has some slight creases on the corners from when it was first received. Thank you for your understanding.