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LP
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WRWTFWW 025LP
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$26.50
PREORDER
RELEASE DATE: 11/16/2018
LP version. 140 gram vinyl; 350 gram sleeve, with sticker. WRWTFWW Records announces the highly anticipated official reissue of holy grail album MKWAJU by acclaimed Japanese percussionist Midori Takada's MKWAJU Ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon) and a digipack CD. Originally recorded in February and March 1981 and released by fabled Japanese avant-garde label Better Days (home of Ryuichi Sakamato's debut album, Yasuaki Shimizu's Kakashi (1982), Colored Music's self-titled LP (WRWTFWW 024CD/LP, 2018) and many more) MKWAJU is the fruit of the collaboration between Takada's crew and world-famous composer/musical director Joe Hisaishi, the man behind most of Hayao Miyazaki's Studio Ghibli anime soundtracks and over 100 other films scores, including Takeshi Kitano's Sonatine (1993), Hana-Bi (1997), and Kikujiro (1999). The ensemble's transcendental wonder is, in fact, the first-ever Midori Takada album and the first-ever Joe Hisaishi-produced album: historic. Led by Midori Takada on marimba, gong, vibraphone, and tom tom, MKWAJU is an inventive and riveting take on Eastern and Western minimalist traditions, African rhythms, and early electronica. Drawing from its jazz-rooted polyrhythmic improvisations in the most inventive ways, the album covers a wide spectrum of sounds, from colorful dance floor-ready percussion pieces that stand somewhere between proto-techno and experimental synth-pop, to cinematic ambient landscapes and ethereal drone delicacies. The feverishly sought-after full-length is a stepping-stone in Midori Takada's career and an all-around pioneering album. Alongside Takada and Hisaishi (who not only produced the album but also played synthesizers), personnel on MKWAJU includes famed Japanese musicians Yoji Sadanari and Hideki Matsutake of KI-Motion (WRWTFWW 026CD/LP, 2018) fame, Junko Arase (heard on Satoshi Ashikawa's legendary Still Way - Wave Notation 2(1982)), and Pecker (whose stacked resume boasts collaborations with Ryuichi Sakamoto and Jun Fukamachi).
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CD
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WRWTFWW 025CD
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$15.50
PREORDER
RELEASE DATE: 11/16/2018
WRWTFWW Records announces the highly anticipated official reissue of holy grail album MKWAJU by acclaimed Japanese percussionist Midori Takada's MKWAJU Ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon) and a digipack CD. Originally recorded in February and March 1981 and released by fabled Japanese avant-garde label Better Days (home of Ryuichi Sakamato's debut album, Yasuaki Shimizu's Kakashi (1982), Colored Music's self-titled LP (WRWTFWW 024CD/LP, 2018) and many more) MKWAJU is the fruit of the collaboration between Takada's crew and world-famous composer/musical director Joe Hisaishi, the man behind most of Hayao Miyazaki's Studio Ghibli anime soundtracks and over 100 other films scores, including Takeshi Kitano's Sonatine (1993), Hana-Bi (1997), and Kikujiro (1999). The ensemble's transcendental wonder is, in fact, the first-ever Midori Takada album and the first-ever Joe Hisaishi-produced album: historic. Led by Midori Takada on marimba, gong, vibraphone, and tom tom, MKWAJU is an inventive and riveting take on Eastern and Western minimalist traditions, African rhythms, and early electronica. Drawing from its jazz-rooted polyrhythmic improvisations in the most inventive ways, the album covers a wide spectrum of sounds, from colorful dance floor-ready percussion pieces that stand somewhere between proto-techno and experimental synth-pop, to cinematic ambient landscapes and ethereal drone delicacies. The feverishly sought-after full-length is a stepping-stone in Midori Takada's career and an all-around pioneering album. Alongside Takada and Hisaishi (who not only produced the album but also played synthesizers), personnel on MKWAJU includes famed Japanese musicians Yoji Sadanari and Hideki Matsutake of KI-Motion (WRWTFWW 026CD/LP, 2018) fame, Junko Arase (heard on Satoshi Ashikawa's legendary Still Way - Wave Notation 2(1982)), and Pecker (whose stacked resume boasts collaborations with Ryuichi Sakamoto and Jun Fukamachi). CD in digipack with sticker.
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CD
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WRWTFWW 032CD
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WRWTFWW Records present the official reissue of cult album Lingua Franca-1 (originally released in 1983) by groundbreaking Kyoto band EP-4. Straight from the delirious minds of unconventional geniuses Kaoru Sato (who had previously released an album as R.N.A. Organism on legendary Osaka label Vanity Records) and Yuji "Banana" Kawashima, Lingua Franca-1 is a seamless voyage of spellbinding mutant funk grooves, joyful post-punk explorations, synth fantasies, sexy distortions, and fluid cool-no-sweat vocals. Constantly mutating in an almost biological way (similarly to Colored Music's self-titled album (1981)), always mysterious and seductive, sometimes reminiscing of a freaky cross between PiL, Liquid Liquid, David Bowie, and Yello, EP-4's debut is hard to label, although "Debonair Wave" could be a legitimate way to describe this Japan's best-kept-secret of an album. Defying the rules wasn't limited to sonic experimentations for band leader Kaoru Sato. To promote Lingua Franca-1, he and his crew plastered gigantic (illegal) billboards all over Shibuya and Harajuku, announcing performances in four different cities on odd hours of the same day (May 5th, 1983). Other of his notable antics included originally sub-titling the album "Death to the Emperor Showa", causing a controversy (which led to censorship and a title-change), trying to release two albums on the same day without the concerned labels being aware of the plan or, in the R.N.A. Organism days, fooling Vanity Records into believing the demo he sent them came from a foreign band (it worked). Unique personality, unique music!
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WRWTFWW 032LP
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LP version; in heavy 350 gram sleeve. WRWTFWW Records present the official reissue of cult album Lingua Franca-1 (originally released in 1983) by groundbreaking Kyoto band EP-4. Straight from the delirious minds of unconventional geniuses Kaoru Sato (who had previously released an album as R.N.A. Organism on legendary Osaka label Vanity Records) and Yuji "Banana" Kawashima, Lingua Franca-1 is a seamless voyage of spellbinding mutant funk grooves, joyful post-punk explorations, synth fantasies, sexy distortions, and fluid cool-no-sweat vocals. Constantly mutating in an almost biological way (similarly to Colored Music's self-titled album (1981)), always mysterious and seductive, sometimes reminiscing of a freaky cross between PiL, Liquid Liquid, David Bowie, and Yello, EP-4's debut is hard to label, although "Debonair Wave" could be a legitimate way to describe this Japan's best-kept-secret of an album. Defying the rules wasn't limited to sonic experimentations for band leader Kaoru Sato. To promote Lingua Franca-1, he and his crew plastered gigantic (illegal) billboards all over Shibuya and Harajuku, announcing performances in four different cities on odd hours of the same day (May 5th, 1983). Other of his notable antics included originally sub-titling the album "Death to the Emperor Showa", causing a controversy (which led to censorship and a title-change), trying to release two albums on the same day without the concerned labels being aware of the plan or, in the R.N.A. Organism days, fooling Vanity Records into believing the demo he sent them came from a foreign band (it worked). Unique personality, unique music!
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CD
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WRWTFWW 024CD
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WRWTFWW Records announce the reissue of the 1981 self-titled album from cult Japanese duo Colored Music. Includes liner notes in English and Japanese by digger, curator, connoisseur, writer, and legend Chee Shimizu. An incredible mix of cosmic new wave, unconventional disco, avant-garde synth pop, and hybrid electronic funk, Colored Music is enchantingly unique, a sort of experimental and magnetizing take on David Bowie's Berlin Trilogy with a psychedelic Haruomi Hosono touch. From the groovy post-punk glam title track to the proto-house dance floor killer "Heartbeat", Ichiko Hashimoto and Atsuo Fujimoto hit all the right (and sometimes not-exactly-right-but-truly-genius) notes to create the odd and beautiful, an unparalleled audio escape to the best elsewhere you can think of. Also playing on the album are celebrated musicians Mansaku Kimura, Shuichi "Ponta" Murakami -- 1978's Pacific (V 25AH426), 1981's KI-Motion by MKWAJU ensemble (WRWTFWW 026CD/LP), collaborations with Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono... -- Kiyohiko Semba, Tamio "Doyo" Kawabata, and Tatsuhiko Hizawa. CD version comes as a digipack.
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LP
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WRWTFWW 024LP
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LP version. 140 gram vinyl; Comes in Stoughton tip-on sleeve. WRWTFWW Records announce the reissue of the 1981 self-titled album from cult Japanese duo Colored Music. Includes liner notes in English and Japanese by digger, curator, connoisseur, writer, and legend Chee Shimizu. An incredible mix of cosmic new wave, unconventional disco, avant-garde synth pop, and hybrid electronic funk, Colored Music is enchantingly unique, a sort of experimental and magnetizing take on David Bowie's Berlin Trilogy with a psychedelic Haruomi Hosono touch. From the groovy post-punk glam title track to the proto-house dance floor killer "Heartbeat", Ichiko Hashimoto and Atsuo Fujimoto hit all the right (and sometimes not-exactly-right-but-truly-genius) notes to create the odd and beautiful, an unparalleled audio escape to the best elsewhere you can think of. Also playing on the album are celebrated musicians Mansaku Kimura, Shuichi "Ponta" Murakami -- 1978's Pacific (V 25AH426), 1981's KI-Motion by MKWAJU ensemble (WRWTFWW 026CD/LP), collaborations with Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono... -- Kiyohiko Semba, Tamio "Doyo" Kawabata, and Tatsuhiko Hizawa.
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2LP
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WRWTFWW 008-9LP
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Double LP version. 140 gram vinyl. Gatefold sleeve. Includes liner notes (French and English). WRWTFWW Records announce the release of two never-released-before soundtracks by French award-winning composer, audio experimenter, electroacoustic, and musique concrète magician, and all-around sound visionary Bernard Parmegiani, sourced from the original reels, and with English and French liner notes. Les Soleils De l'Île De Pâques (1972), by French director Pierre Kast, is a sci-fi feature which secured itself a well-deserved place in the pantheon of mysterious cult films thanks to hallucinatory (and superb) cinematography, exploration of supernatural phenomenon and occult symbolism, and one hell of a trippy atmosphere. La Brûlure De Mille Soleils (1965) also comes from Pierre Kast, but this time with the help of none other than writer, photographer, multimedia artist, homme à tout faire Chris Marker -- notably known for films La Jetée (1962), A Grin Without a Cat (1977), and Sans Soleil (1983) -- who edited this bizarre short to brain-melting results that live up to the promises of its synopsis: A depressed millionaire poet, accompanied by his cat Marcel and a sign language robot, travels in time to shake a persistent feeling of ennui and falls hopelessly in love with a woman from another planet. 'Nuff said! A renowned member of the prestigious GRM (Groupe De Recherches Musicales, the French equivalent of the BBC Radiophonic Workshop) and frequent collaborator of Pierre Schaeffer, Iannis Xenakis, and Pierre Henry, among others, Bernard Parmegiani does what he does best with these two rare soundtracks: create moods with electroacoustic experimentation, elevating the weird and hypnotic with soundscapes from other dimensions, and cementing his status as a true innovator.
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CD
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WRWTFWW 008-9CD
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WRWTFWW Records announce the release of two never-released-before soundtracks by French award-winning composer, audio experimenter, electroacoustic, and musique concrète magician, and all-around sound visionary Bernard Parmegiani, sourced from the original reels, and with English and French liner notes. Les Soleils De l'Île De Pâques (1972), by French director Pierre Kast, is a sci-fi feature which secured itself a well-deserved place in the pantheon of mysterious cult films thanks to hallucinatory (and superb) cinematography, exploration of supernatural phenomenon and occult symbolism, and one hell of a trippy atmosphere. La Brûlure De Mille Soleils (1965) also comes from Pierre Kast, but this time with the help of none other than writer, photographer, multimedia artist, homme à tout faire Chris Marker -- notably known for films La Jetée (1962), A Grin Without a Cat (1977), and Sans Soleil (1983) -- who edited this bizarre short to brain-melting results that live up to the promises of its synopsis: A depressed millionaire poet, accompanied by his cat Marcel and a sign language robot, travels in time to shake a persistent feeling of ennui and falls hopelessly in love with a woman from another planet. 'Nuff said! A renowned member of the prestigious GRM (Groupe De Recherches Musicales, the French equivalent of the BBC Radiophonic Workshop) and frequent collaborator of Pierre Schaeffer, Iannis Xenakis, and Pierre Henry, among others, Bernard Parmegiani does what he does best with these two rare soundtracks: create moods with electroacoustic experimentation, elevating the weird and hypnotic with soundscapes from other dimensions, and cementing his status as a true innovator. CD version comes in an all-in-one digipack.
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LP
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WRWTFWW 026LP
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LP version. 140 gram vinyl; Heavy cardboard old Stoughton tip-on sleeve. WRWTFWW Records present the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada's MKWAJU Ensemble, originally released in 1981. A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion, and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada's exploration of minimalism, African rhythmic tradition, and ambient music. The album takes its conceptual inspiration from the tamarind ("mkwaju" in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region's culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient -- the ideal companion to her majestic opus from 1983, Through The Looking Glass (WRWTFWW 018LP/019CD/019LP). Sourced from the original masters.
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CD
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WRWTFWW 026CD
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WRWTFWW Records present the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada's MKWAJU Ensemble, originally released in 1981. A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion, and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada's exploration of minimalism, African rhythmic tradition, and ambient music. The album takes its conceptual inspiration from the tamarind ("mkwaju" in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region's culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient -- the ideal companion to her majestic opus from 1983, Through The Looking Glass (WRWTFWW 018LP/019CD/019LP). Sourced from the original masters. CD version comes as a digipak.
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LP + 7"
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WRWTFWW 023LTD
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LP version. Comes as a limited edition 12" + 7" vinyl album; High glossy gatefold; Includes an exclusive Shadok drawing by Robert Cohen-Solal. WRWTFWW Records announce the release of the complete soundtrack of cult French animated TV series Les Shadoks (1968-1974) by Robert Cohen-Solal, available for the first time ever in its entirety. It's the right in time to celebrate the 50th anniversary of Jacques Rouxel and René Borg's legendary television cartoon. Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary -- a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixed into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created. A true literary, cultural, and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee's La machine à gazouiller, or Twittering Machine), left a lasting mark, making the term "Shadok" an oft-used satirical expression to describe policies and attitudes considered to be absurd.
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CD
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WRWTFWW 023CD
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WRWTFWW Records announce the release of the complete soundtrack of cult French animated TV series Les Shadoks (1968-1974) by Robert Cohen-Solal, available for the first time ever in its entirety. It's the right in time to celebrate the 50th anniversary of Jacques Rouxel and René Borg's legendary television cartoon. Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary -- a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixed into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created. A true literary, cultural, and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee's La machine à gazouiller, or Twittering Machine), left a lasting mark, making the term "Shadok" an oft-used satirical expression to describe policies and attitudes considered to be absurd.
Digipack CD version. Cut and mastered from the original reels under the supervision of the artist, and contain liner notes in French and English.
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7"
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WRWTFWW 016EP
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WRWTFWW Records announce the release of the long-anticipated, 30-years-in-the-making Psychos In Love original soundtrack, available for the first time ever in a super-deluxe, 7" grape-colored vinyl edition. Filled with sleazy funk, macabre synths, homemade electronic kitsch, anti-grape propaganda, and rewind-worthy dialogue excerpts, Psychos In Love is the ultimate lo-fi horror-rom-com soundtrack adventure. Housed in DIY no-budget sleeve; Loaded with extras, including words from film director Gorman Bechard, lyrics of the theme song, a promotional postcard with a picture of the cast, a poster of a woman attacked in a bathroom, and the infamous as-seen-in-the-movie "I LOVE MY VCR" bumper sticker.
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LP
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WRWTFWW 022LP
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Repressed; LP version. Cut at Emil Berliner Studios; Housed in a kraft sleeve similar to the original promo-only release. WRWTFWW Records present the release of Jun Fukamachi's highly coveted Nicole (86 Spring And Summer Collection - Instrumental Images) album, originally recorded in 1986 for celebrated fashion designer Mitsuhiro Matsuda's Nicole clothing brand. Never officially available before, Nicole was only distributed as a limited promotional item offered to attendees and participants of the 1986 fashion show for the Nicole brand's Spring and Summer collection. Fukamachi's moody magnum opus has become a sort of holy grail for fans of Japanese ambient, jazz, and synth music alike --and rightly so. Meticulously conceived, smooth and subtle, Nicole sounds like it came from an ethereal land where Erik Satie and Art of Noise lived together, a sublimely cinematic listening experience perhaps best described by renowned Japanese music writer Masaharu Yoshioka, aka The Soul Searcher: "If you are driving down the Autobahn at 160 km/h, or even 80 km/h, and Jun's music starts playing on the car stereo, the windshield will instantly turn into your own personal silver screen." Made in cooperation of the artist's estate; Includes new liner notes by Masaharu Yoshioka.
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CD
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WRWTFWW 022CD
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WRWTFWW Records present the release of Jun Fukamachi's highly coveted Nicole (86 Spring And Summer Collection - Instrumental Images) album, originally recorded in 1986 for celebrated fashion designer Mitsuhiro Matsuda's Nicole clothing brand. Never officially available before, Nicole was only distributed as a limited promotional item offered to attendees and participants of the 1986 fashion show for the Nicole brand's Spring and Summer collection. Fukamachi's moody magnum opus has become a sort of holy grail for fans of Japanese ambient, jazz, and synth music alike --and rightly so. Meticulously conceived, smooth and subtle, Nicole sounds like it came from an ethereal land where Erik Satie and Art of Noise lived together, a sublimely cinematic listening experience perhaps best described by renowned Japanese music writer Masaharu Yoshioka, aka The Soul Searcher: "If you are driving down the Autobahn at 160 km/h, or even 80 km/h, and Jun's music starts playing on the car stereo, the windshield will instantly turn into your own personal silver screen." Made in cooperation of the artist's estate; Includes new liner notes by Masaharu Yoshioka. CD version comes in a digipak; Includes one bonus track, "Passion".
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CD
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WRWTFWW 020CD
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We Release Whatever The Fuck We Want Records present a reissue of Midori Takada and Masahiko Satoh's Lunar Cruise, originally released in 1990. Following the successful reissue of Midori Takada's Through The Looking Glass (WRWTFWW 018LP/WRWTFWW 019CD/LP), WRWTFWW Records present another release from the legendary Japanese percussionist: 1990's Lunar Cruise, her superb collaboration with jazz pianist, synth master, composer, and arranger Masahiko Satoh. Arguably the best kept secret in Midori Takada's fascinating discography, Lunar Cruise is an under-the-radar masterpiece that captures Takada (on marimba and minimal percussion set-up) and Satoh (on Korg M1 and Yamaha DX7II synths, Ensoniq EPS sampler, and acoustic piano) vibrantly fusing traditional African and Asian percussion with jazz, ambient, and minimalism. The album also features the great Haruomi Hosono (Yellow Magic Orchestra, Happy End) and Kazutoki Umezu (saxophone, clarinet).
Sourced from the original studio masters (DATs); New liner notes with a poster inlay. CD version comes in a digipak.
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LP+CD
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WRWTFWW 020LP
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LP version. Marks the title's first ever vinyl release; Cut at Emil Berliner Studios; Housed in a 350 gsm sleeve; Includes CD with all ten tracks. We Release Whatever The Fuck We Want Records present a reissue of Midori Takada and Masahiko Satoh's Lunar Cruise, originally released in 1990. Following the successful reissue of Midori Takada's Through The Looking Glass (WRWTFWW 018LP/WRWTFWW 019CD/LP), WRWTFWW Records present another release from the legendary Japanese percussionist: 1990's Lunar Cruise, her superb collaboration with jazz pianist, synth master, composer, and arranger Masahiko Satoh. Arguably the best kept secret in Midori Takada's fascinating discography, Lunar Cruise is an under-the-radar masterpiece that captures Takada (on marimba and minimal percussion set-up) and Satoh (on Korg M1 and Yamaha DX7II synths, Ensoniq EPS sampler, and acoustic piano) vibrantly fusing traditional African and Asian percussion with jazz, ambient, and minimalism. The album also features the great Haruomi Hosono (Yellow Magic Orchestra, Happy End) and Kazutoki Umezu (saxophone, clarinet).
Sourced from the original studio masters (DATs); New liner notes with a poster inlay.
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LP
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WRWTFWW 014LP
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We Release Whatever The Fuck We Want Records present a reissue of the highly sought-after electronic/sci-fi disco/proto-techno/ambient masterpiece Voice Of Taurus by Swiss music pioneer and synth super wizard Bruno Spoerri, available on vinyl for the first time since its original release in 1978. Surrounded with a formidable family of legendary synthesizers, primitive modulators, and audio gear -- transformed and customized à la Spoerri --, armed with an extraordinary talent for improvisation, and deeply inspired by the likes of Wendy Carlos, Pierre Schaeffer, and the then freshly released Close Encounter of the Third Kind (1977), Bruno Spoerri envisioned Voice Of Taurus as "electronic pop conceived using an experimental and jazz approach". The result is an out-of-this-world sonic adventure where early techno sounds blend with synth-based sci-fi soundtrack vibes, krautrock explorations, and retro-futuristic disco madness. It's unique, catchy, cosmic, and meditative -- it's a must have for all record collectors of the galaxy... welcome to Planet Spoerri. Still very active recording, touring, and collaborating (with Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod, to name a few), Bruno Spoerri is a multiple award-winning Swiss music icon, whose career started in the 1950s. His works spans jazz, electronic music, film, and TV work, and everything in between. Improvisational maestro and synthesizer mega-connoisseur, Mr. Spoerri has influenced an entire generation of producers and musicians -- even Jay-Z sampled him. Housed in a 350 gram jacket; Includes new liner notes.
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LP
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WRWTFWW 015LP
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We Release Whatever The Fuck We Want Records present a reissue of the extraterrestrial cult classic The Sound Of The UFOs, a collaborative effort between Swiss jazz and electronic music icon Bruno Spoerri and innovative drummer extraordinaire Reto Weber, available on vinyl for the first time since its original release in 1978. Recorded live in Zurich in March 1978, The Sound Of The UFOs finds Bruno and Reto improvising with a vast array of classic and customized synths and percussions from all corners of the globe (and the galaxy). It's cosmic free jazz in audio gear heaven with a heavy dose of ambient, krautrock, primitive proto-techno vibes, and experimental space disco with a musique concrète mentality -- anything's possible when a jazzman and a percussionist obsessed with finding new sounds collide and explore uncharted sonic territories. This groundbreaking gem is the ideal companion piece to Bruno Spoerri's highly coveted Voice Of Taurus LP (WRWTFWW 015LP). Still very active recording, touring, and collaborating (with Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod, to name a few), Bruno Spoerri is a multiple award-winning Swiss music icon, whose career started in the 1950s. His works spans jazz, electronic music, film, and TV work, and everything in between. Improvisational maestro and synthesizer mega-connoisseur, Mr. Spoerri has influenced an entire generation of producers and musicians -- even Jay-Z sampled him. Housed in a 350 gram jacket; Includes new liner notes.
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LP
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WRWTFWW 017LP
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2018 repress. We Release Whatever The Fuck We Want Records present the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making Of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron's Avatar (2009), the Wachowskis's The Matrix (1999), and Steven Spielberg's AI: Artificial Intelligence (2001). For fans of anime, manga, movie soundtracks, science fiction, ambient, folklore, Japan, Akira (1988), artificial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon).
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LP + 7"
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WRWTFWW 017LTD
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Sold out, no planned repress. Limited edition LP version. Includes 7" and extensive 24-page liner notes; Japanese obi; Sleeve with silver gilt printing. We Release Whatever The Fuck We Want Records present the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making Of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron's Avatar (2009), the Wachowskis's The Matrix (1999), and Steven Spielberg's AI: Artificial Intelligence (2001). For fans of anime, manga, movie soundtracks, science fiction, ambient, folklore, Japan, Akira (1988), artificial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes in two versions: a standard LP and a limited collector's edition which comes housed in a sleeve with silver gilt printing and includes the LP, a bonus 7", Japanese obi, and extensive 24-page liner notes.
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LP
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WRWTFWW 011DJLP
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2017 repress, now on black 140 gram vinyl in a 350 gram jacket. Special DJ Blue Heart version, with included skits/interludes from the movie. We Release Whatever The Fuck We Want Records unleash the complete uncut soundtrack for Lucio Fulci and Bruno Mattei's 1988 cult zombie-ploitation gem Zombi 3 (aka Zombie Flesh Eaters 2, aka Sanguelia 2) for the first time ever on vinyl, available on two different collector's edition vinyl, the "Classic Version" and the "Special Version". This future deluxe edition OOP classic is packed with menacing synths, ghoulish melodies, and contaminated anthems, remastered directly from the rare original reels of maestro Stefano Mainetti. Zombi 3 is the (unrelated) sequel to Zombi 2 (1979), itself an unofficial sequel to George Romero's Dawn Of The Dead (1978). This marvel of the VHS-era finds a group of super scientists working on a very secret biological weapon called Death One which mutates and kills living humans... and re-animates the dead. Feared by critics and beloved by vintage exploitation fanatics, Zombi 3 has all the charms of the glory days of Italian B-horror, including a fantastic soundtrack. Underrated composer and conductor Stefano Mainetti has done soundtracks for Italian sleaze masters Joe D'Amato and Bruno Mattei, but also for Weekend at Bernie's (1989) and First Blood (1982) director Ted Kotcheff, and Russell Mulcahy of Razorback (1984) and Highlander (1986) fame. His resume includes 1988's badass actioner Strike Commando 2 (aka Trappola Diabolica), exploitation horror flick from 1988 Ratman (aka Quella Villa In Fondo Al Parco), and 1995's The Shooter (aka Hidden Assassin) with the manly superstar Dolph Lundgren. Much like his Italian peers Fabio Frizzi, Claudio Simonetti, or Stelvio Cipriani, Stefano Mainetti can do it all: haunting synths à la John Carpenter, jazzy atmospheres, classical orchestrations, erotic funk, decadent FM rock, and the list goes on. His eclectic abilities and flair for '80s cinematic moods are well represented in Zombi 3: The Soundtrack.
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LP
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WRWTFWW 011LP
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2017 repress, now on black 140 gram vinyl in a 350 gram jacket. WRWTFWW Records unleash the complete uncut soundtrack for Lucio Fulci and Bruno Mattei's 1988 cult zombie-ploitation gem Zombi 3 (aka Zombie Flesh Eaters 2, aka Sanguelia 2) for the first time ever on vinyl, available on two different collector's edition vinyl, the "Classic Version" and the "Special Version". This future deluxe edition OOP classic is packed with menacing synths, ghoulish melodies, and contaminated anthems, remastered directly from the rare original reels of maestro Stefano Mainetti. Zombi 3 is the (unrelated) sequel to Zombi 2 (1979), itself an unofficial sequel to George Romero's Dawn Of The Dead (1978). This marvel of the VHS-era finds a group of super scientists working on a very secret biological weapon called Death One which mutates and kills living humans... and re-animates the dead. Feared by critics and beloved by vintage exploitation fanatics, Zombi 3 has all the charms of the glory days of Italian B-horror, including a fantastic soundtrack. Underrated composer and conductor Stefano Mainetti has done soundtracks for Italian sleaze masters Joe D'Amato and Bruno Mattei, but also for Weekend at Bernie's (1989) and First Blood (1982) director Ted Kotcheff, and Russell Mulcahy of Razorback (1984) and Highlander (1986) fame. His resume includes 1988's badass actioner Strike Commando 2 (aka Trappola Diabolica), exploitation horror flick from 1988 Ratman (aka Quella Villa In Fondo Al Parco), and 1995's The Shooter (aka Hidden Assassin) with the manly superstar Dolph Lundgren. Much like his Italian peers Fabio Frizzi, Claudio Simonetti, or Stelvio Cipriani, Stefano Mainetti can do it all: haunting synths à la John Carpenter, jazzy atmospheres, classical orchestrations, erotic funk, decadent FM rock, and the list goes on. His eclectic abilities and flair for '80s cinematic moods are well represented in Zombi 3: The Soundtrack.
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LP
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WRWTFWW 013LP
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Limited restock. We Release Whatever The Fuck We Want Records present a reissue of Nino Nardini's e Musique Pour Le Futur, originally released in 1970. An experimental, musique concrete, sci-fi masterpiece, available for the first time since 1970. Originally recorded for Crea Sound Ltd., a sub-label of Louis Delacour's Neuilly imprint, Musique Pour Le Futur finds the French composer, arranger, producer, possible time-traveler, and all around music library legend Nino Nardini experimenting with synthesizers, percussions, prepared piano, echo, and special effects. Fans of electronic oddities, eerie cinematic audio-landscapes, Piero Umiliani, or Bernard Parmegiani, will rejoice at this full-length musical adventure that could very well be the soundtrack for a film in which characters from a '70s Italian horror movie visit a distant (forbidden) planet from a '50s sci-movie. It's bizarre, hypnotizing, slightly spooky, always out-of-this-world, and goddamn brilliant. Nino Nardini, also known as Georges Teperino, had a very fruitful career in library music, much like longtime collaborator Roger Roger. He composed a very large amount of works for French and British libraries which continues to be featured in numerous programs (radio, TV, films) all around the world. His passion for electronic music experimentations began in the late '60s and kept going until the '80s. Housed in a phosphorescent glow-in-the-dark, heavy cardboard sleeve.
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10"
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WRWTFWW 012LP
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We Release Whatever The Fuck We Want Records presents the first ever vinyl release of the soundtrack for Hélène Cattet and Bruno Forzani's critically-acclaimed Belgian-French giallo Amer (2009). Filled with superb compositions by Italian movie score legends Ennio Morricone, Stelvio Cipriani, and Bruno Nicolai, all remastered for hardcore audiophile appreciation. Described by The New York Times as "a surreal cinematic tone poem that pays slavering homage to Italian giallo horror films of the 1970s", Amer finds its influences in the films of Dario Argento, Luis Buñuel, or Mario Bava and makes for a truly visceral cinematic experience, thanks notably to a perfectly curated soundtrack compiling some of the best songs from cult Italian movies of the past. Amer includes three songs by the great Stelvio Cipriani, well known for the marvelous soundtrack of poliziottesco movie La Polizia Sta A Guardare (1973) whose main theme was reborn in 2007 on Quentin Tarantino's Death Proof (2007), as well as music for countless cult spaghetti western and giallo movies. He received a Nastro d'Argento award for best score for The Anonymous Venetian (1970). The legend himself, Ennio Morricone also shows up on the soundtrack with a sexy and melancholic jazz number, while his longtime collaborator Bruno Nicolai delivers the hypnotic strings that carry the eerie and erotic mood of the film. Last but not least, the beautiful voice of beloved singer Adriano Celentano cements what is a must-have album for '60s and '70s Italian soundtrack fanatics. Limited edition of 500 comes on an arousing pitch black 10" vinyl, housed in heavy cardboard Old-style Stoughton tip-on jacket.
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