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LP
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WRWTFWW 034LP
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LP version. WRWTFWW Records present the official reissue of Motohiko Hamase's remarkable ambient/environmental/minimalism project #Notes of Forestry, available for the first time since its original release in 1988. The album is sourced from original masters and available on vinyl and CD with liner notes from the artist. This marks the third release from the Esplanade Series which focuses on the works of Yoshio Ojima, Motohiko Hamase, and Satsuki Shibano. One of the most fascinating and peculiar works from the golden era of Japanese ambient, #Notes of Forestry was initially released in 1988 by Newsic, the cult label started by Tokyo's Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. Conceived by jazz bassist turned experimentalist Motohiko Hamase, the magnum opus offers an enchanting mix of free-form pastoral electronics, otherworldly percussions by Yasunori Yamaguchi, and delightfully allusive piano played by none other than Satsuki Shibano (Sound Process' Wave Notation 3). Vibrant, sometimes eerie, and absolutely captivating, #Forestry captures Hamase's quest for musical freedom, he explains: "Inside the body of a musician, music is always transcendentally resonating. More than language, music reigns. When creating music overlaps with the moment my body performs, I strive to be as close as possible to the feeling of musical freedom. I feel that this notion lies at the foundation of this album." Musical freedom, here, provides an essential escape, extending the path uncovered by pivotal releases such as Midori Takada's Through The Looking Glass (WRWTFWW 018LP, 019CD/LP), Satoshi Ashikawa's Still Way (WRWTFWW 030CD/LP), and Yutaka Hirose's Nova (WRWTFWW 028CD/LTD). #Notes of Forestry is reissued in conjunction with Motohiko Hamase's Technodrome (WRWTFWW 035CD/LP) and Anecdote (WRWTFWW 036CD/LP) albums.
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2LP
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WRWTFWW 036LP
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Double LP version. Three-sided. WRWTFWW Records announce the official reissue of Motohiko Hamase's extremely rare live album Anecdote, recorded in 1987. This marks the sixth release from the Esplanade Series which focuses on the works of Yoshio Ojima, Motohiko Hamase, and Satsuki Shibano. Anecdote was recorded live June 12th, 1987 at Spiral Garden (Wacoal Art Center) in Aoyama (Tokyo) as part of the Eat Newsic Concert No.3. Motohiko Hamase on electric fretless bass, synthesizers, and computer programming, is accompanied by frequent collaborators Toshio Kaji on acoustic piano and synthesizers, and Yasunori Yamaguchi (of #Notes of Forestry fame) on acoustic percussions. The three-man band improvises around Hamase's unique repertoire of ambient and electronic music, reinterpreting pieces from his albums Reminiscence (STUDIOMUL 010CD/LP), Intaglio (STUDIOMUL 008CD/LP), and #Notes of Forestry. It's environmental and minimalist experiments with a jazz soul, three brilliant musicians flowing to blissful heights, and a beautiful testament to the '80s Japanese ambient scene that gave birth to seminal releases by Midori Takada, Satoshi Ashikawa, Yutaka Hirose, and many more. Essential. The live album came out on CD only in 1993 on Motohiko Hamase's Lung Records. It is now reissued in conjunction with his #Notes of Forestry and Anecdote albums. The album is sourced from original masters and available on vinyl (double LP) for the first time ever as well as on CD. It comes with liner notes from the artist.
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CD
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WRWTFWW 034CD
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WRWTFWW Records present the official reissue of Motohiko Hamase's remarkable ambient/environmental/minimalism project #Notes of Forestry, available for the first time since its original release in 1988. The album is sourced from original masters and available on vinyl and CD with liner notes from the artist. This marks the third release from the Esplanade Series which focuses on the works of Yoshio Ojima, Motohiko Hamase, and Satsuki Shibano. One of the most fascinating and peculiar works from the golden era of Japanese ambient, #Notes of Forestry was initially released in 1988 by Newsic, the cult label started by Tokyo's Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. Conceived by jazz bassist turned experimentalist Motohiko Hamase, the magnum opus offers an enchanting mix of free-form pastoral electronics, otherworldly percussions by Yasunori Yamaguchi, and delightfully allusive piano played by none other than Satsuki Shibano (Sound Process' Wave Notation 3). Vibrant, sometimes eerie, and absolutely captivating, #Forestry captures Hamase's quest for musical freedom, he explains: "Inside the body of a musician, music is always transcendentally resonating. More than language, music reigns. When creating music overlaps with the moment my body performs, I strive to be as close as possible to the feeling of musical freedom. I feel that this notion lies at the foundation of this album." Musical freedom, here, provides an essential escape, extending the path uncovered by pivotal releases such as Midori Takada's Through The Looking Glass (WRWTFWW 018LP, 019CD/LP), Satoshi Ashikawa's Still Way (WRWTFWW 030CD/LP), and Yutaka Hirose's Nova (WRWTFWW 028CD/LTD). #Notes of Forestry is reissued in conjunction with Motohiko Hamase's Technodrome (WRWTFWW 035CD/LP) and Anecdote (WRWTFWW 036CD/LP) albums.
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CD
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WRWTFWW 035CD
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WRWTFWW Records announce the official reissue of Motohiko Hamase's astounding ambient house album Technodrome, originally released in 1993. This marks the fourth release from the Esplanade Series which focuses on the works of Yoshio Ojima, Motohiko Hamase, and Satsuki Shibano. Inspired by John Cage, Jon Hassel, Brian Eno, and the emergence of house and techno music, Technodrome is jazz bassist turned electronic experimentalist Motohiko Hamase's foray into what he calls ambient house or, as he explains, "using the gritty sensation inherent to the core of house music" to create an ambient record "aiming to express inverted images, optical illusions, and the sense of déjà vu that modern people can get in the city." Technodrome is constructed around innovative minimalism, a robotic funk orchestrated by bass lines and percussions, and monochrome moods. It's the most intriguing project in Hamase's discography, a ghostly ride set in '90s urban landscape, where repetition sets the groove and brings things to life, echoing Hamase's deeper subtext for his compositions: "and attempt to recreate (as metaphor) the time in our mother's womb." The album was initially released in 1993 by Newsic, the cult label started by Tokyo's Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. It is now reissued in conjunction with Motohiko Hamase's #Notes of Forestry (1988) and Anecdote (WRWTFWW 036CD/LP) albums. The album is sourced from original masters and available on CD and vinyl for the first time ever. Includes liner notes from the artist.
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LP
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WRWTFWW 035LP
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LP version. WRWTFWW Records announce the official reissue of Motohiko Hamase's astounding ambient house album Technodrome, originally released in 1993. This marks the fourth release from the Esplanade Series which focuses on the works of Yoshio Ojima, Motohiko Hamase, and Satsuki Shibano. Inspired by John Cage, Jon Hassel, Brian Eno, and the emergence of house and techno music, Technodrome is jazz bassist turned electronic experimentalist Motohiko Hamase's foray into what he calls ambient house or, as he explains, "using the gritty sensation inherent to the core of house music" to create an ambient record "aiming to express inverted images, optical illusions, and the sense of déjà vu that modern people can get in the city." Technodrome is constructed around innovative minimalism, a robotic funk orchestrated by bass lines and percussions, and monochrome moods. It's the most intriguing project in Hamase's discography, a ghostly ride set in '90s urban landscape, where repetition sets the groove and brings things to life, echoing Hamase's deeper subtext for his compositions: "and attempt to recreate (as metaphor) the time in our mother's womb." The album was initially released in 1993 by Newsic, the cult label started by Tokyo's Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. It is now reissued in conjunction with Motohiko Hamase's #Notes of Forestry (1988) and Anecdote (WRWTFWW 036CD/LP) albums. The album is sourced from original masters and available on CD and vinyl for the first time ever. Includes liner notes from the artist.
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CD
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WRWTFWW 036CD
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WRWTFWW Records announce the official reissue of Motohiko Hamase's extremely rare live album Anecdote, recorded in 1987. This marks the sixth release from the Esplanade Series which focuses on the works of Yoshio Ojima, Motohiko Hamase, and Satsuki Shibano. Anecdote was recorded live June 12th, 1987 at Spiral Garden (Wacoal Art Center) in Aoyama (Tokyo) as part of the Eat Newsic Concert No.3. Motohiko Hamase on electric fretless bass, synthesizers, and computer programming, is accompanied by frequent collaborators Toshio Kaji on acoustic piano and synthesizers, and Yasunori Yamaguchi (of #Notes of Forestry fame) on acoustic percussions. The three-man band improvises around Hamase's unique repertoire of ambient and electronic music, reinterpreting pieces from his albums Reminiscence (STUDIOMUL 010CD/LP), Intaglio (STUDIOMUL 008CD/LP), and #Notes of Forestry. It's environmental and minimalist experiments with a jazz soul, three brilliant musicians flowing to blissful heights, and a beautiful testament to the '80s Japanese ambient scene that gave birth to seminal releases by Midori Takada, Satoshi Ashikawa, Yutaka Hirose, and many more. Essential. The live album came out on CD only in 1993 on Motohiko Hamase's Lung Records. It is now reissued in conjunction with his #Notes of Forestry and Anecdote albums. The album is sourced from original masters and available on vinyl (double LP) for the first time ever as well as on CD. It comes with liner notes from the artist.
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LP
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WRWTFWW 040LP
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WRWTFWW Records present the much-anticipated official reissue of Japanese duo Inoyamaland's quintessential ambient/environmental/electronic album Danzindan-Pojidon, produced by Haruomi Hosono and originally released in 1983 on his Yen Records label. Available outside of Japan for the first time, the new age classic comes as a limited LP with liner notes by band member Makoto Inoue. With Danzindan-Pojidon, Yasushi Yamashita and Makoto Inoue created what they describe as "a special place where the kingdom of summer vacation never ended." Playful and magical, it's a sonic landscape defined by tinkling synths, floating minimalist melodies, pastoral excursions, and mythical overtones. The ten-track adventure takes the listener on a joyful audio exploration of unknown but friendly territories, like childhood memories of an imaginary island where everything is vibrantly alive and peaceful. The original recording sessions for the album took place in an apartment filled with Inoyamaland's "favorite things and friends" and the wonders that came out of them were handed to master Harry Hosono who added his undeniable genius touch. And thus Danzindan-Pojidon was born, an absolute must-have, sitting in the pantheon of all-time '80s Japanese ambient greats alongside Midori Takada's Through The Looking Glass (WRWTFWW 018LP/019CD/019LP), Hiroshi Yoshimura's Green, and Satoshi Ashikawa's Still Way (WRWTFWW 030CD/LP) -- and holding that mysterious power of "music that makes life a little easier and happier." 350gsm sleeve with selected UV high gloss varnish.
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LP
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WRWTFWW 037LP
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WRWTFWW Records announce the first ever vinyl release of Tom Raybould's award-winning movie soundtrack for excellent AI-themed sci-fi thriller The Machine (2013). Undoubtedly one of the greatest (and most overlooked) movie scores of the 2010s, The Machine finds its influences in the works of John Carpenter, Vangelis, Brad Fiedel, and Tangerine Dream, but presents its own unique twist, one that cleverly evokes the thin line between man and machine that haunts the whole film. Cold and tenacious rhythms suggest mechanical killer instincts, brooding synths crystallize the fear of an AI-controlled future, but the warm and gentle sounds of guitar and piano ease the tension and bring hope of humanity. From its menacing introduction to its tender ending, Tom Raybould's masterwork ingenuously blends ambient, electronic, neoclassical, and synth wave to recontextualize and upgrade the classic '80s sci-fi movie score template, holding its own against mammoth soundtracks like Blade Runner (1982) or The Terminator (1984). Truly. Cold with a touch of humanity like the perfect machine, Tom Raybould's movie score won the BAFTA Cymru award for Best Original Music in 2013. LP housed in a glow-in-the-dark sleeve. "Tom Raybould's Music For The Machine Is Amazing" --Bloody Disgusting
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12"
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WRWTFWW 043EP
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WRWTFWW Records is beyond thrilled to announce the first ever vinyl maxi-single release for Raum, Grauzone's best-kept secret and underground mega-gem from 1980. The four-track affair includes the full title track sourced from the original reels. The 12-inch vinyl is cut at 45rpm and comes with a never-seen cover art by band member Stephan Eicher and a handmade Xerox hype sticker. Initially released almost 40 years ago on the beloved compilation Swiss Wave The Album (Off Course Records, 1980) alongside the band's massive hit "Eisbär", "Raum" is the biggest Grauzone track people have yet to discover. An über-infectious New York style bassline played by Christian "GT" Trüssel and frantic drumming by Marco Repetto's blend with Martin Eicher's hauntingly hopeless lyrics and Claudine Chirac's saxophone escapades to personify post-punk heaven and all its wonderful anomalies. It's disco with an edge, pop filled with fear, it's The Cure infused with proto techno and Swiss art chic. Or maybe, it's simply one hell of a song that will make you dance and shout. Further on the A-side, Naum Gabo's rework takes Grauzone to modern dancefloors with a thumping track and bounce-inducing groove on which Liquid Liquid's very own Dennis Young adds magic in the form of marimba, Roto Toms, and EBowed guitar. The energy is electric, the sound is huge, a club banger with extra heart, ready for sound systems of all kinds. The B-side features Ata Macias's fabled extended version of "Raum" (first released in 2010 via Live at Robert Johnson) that Stephan Eicher described as "the perfect Grauzone edit" (and it is!), plus a straight to the point radio edit of Naum Gabo's rework. This release follows WRWTFWW's reissue of Grauzone's Eisbär maxi-single (WRWTFWW 041EP) as part of the 40 years anniversary of the band.
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2CD
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WRWTFWW 031CD
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WRWTFWW Records announce a reissue of both volumes of Yoshio Ojima's superb environmental music project Une Collection Des Chaînons I And II: Music For Spiral, originally released in 1988. The twenty-track opus is sourced from original masters and includes liner notes in English and Japanese. This marks the inaugural release from the Esplanade Series by WRWTFWW Records, which focuses on the works of Ojima and friends. Une Collection... gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle. Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating evolving designs and constructions, adapting to human needs naturally. The first volume flows from the eerie and levitating "Entrance" to the quirky "Esplanade (Live)", the gentle and reassuring "Flius", and the measured and ravishing escalation of "Mensis." On the second volume, the nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest evokes a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. Sitting alongside Midori Takada's Through The Looking Glass (WRWTFWW 018LP/019CD/019LP, 2017), Ashikawa's Still Way (WRWTFWW 030CD/LP, 2019), Hiroshi Yoshimura's Green (1986), or Yutaka Hirose's NOVA (WRWTFWW 028CD/LTD, 2019), as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners. A note from Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."
Une Collection Des Chaînons I And II: Music For Spiral is presented as 2-CD set compiling both volumes (WRWTFWW 031CD) or as two separate double LPs, each containing a volume (WRWTFWW 031-1LP/031-2LP). RIYL: Midori Takada, Hiroshi Yoshimura, Satoshi Ashikawa, Yutaka Hirose. Digipack with selected UV high-gloss varnish, liner notes, and sticker. 2LP versions in 350gsm gatefold with selected UV high-gloss varnish, liner notes, sticker.
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2LP
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WRWTFWW 031-1LP
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Volume One. WRWTFWW Records announce a reissue of both volumes of Yoshio Ojima's superb environmental music project Une Collection Des Chaînons I And II: Music For Spiral, originally released in 1988. The twenty-track opus is sourced from original masters and includes liner notes in English and Japanese. This marks the inaugural release from the Esplanade Series by WRWTFWW Records, which focuses on the works of Ojima and friends. Une Collection... gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle. Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating evolving designs and constructions, adapting to human needs naturally. The first volume flows from the eerie and levitating "Entrance" to the quirky "Esplanade (Live)", the gentle and reassuring "Flius", and the measured and ravishing escalation of "Mensis." On the second volume, the nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest evokes a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. Sitting alongside Midori Takada's Through The Looking Glass (WRWTFWW 018LP/019CD/019LP, 2017), Ashikawa's Still Way (WRWTFWW 030CD/LP, 2019), Hiroshi Yoshimura's Green (1986), or Yutaka Hirose's NOVA (WRWTFWW 028CD/LTD, 2019), as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners. A note from Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."
Une Collection Des Chaînons I And II: Music For Spiral is presented as two separate double LPs, RIYL: Midori Takada, Hiroshi Yoshimura, Satoshi Ashikawa, Yutaka Hirose. 2LP versions in 350gsm gatefold with selected UV high-gloss varnish, liner notes, sticker.
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2LP
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WRWTFWW 031-2LP
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Volume Two. WRWTFWW Records announce a reissue of both volumes of Yoshio Ojima's superb environmental music project Une Collection Des Chaînons I And II: Music For Spiral, originally released in 1988. The twenty-track opus is sourced from original masters and includes liner notes in English and Japanese. This marks the inaugural release from the Esplanade Series by WRWTFWW Records, which focuses on the works of Ojima and friends. Une Collection... gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle. Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating evolving designs and constructions, adapting to human needs naturally. The first volume flows from the eerie and levitating "Entrance" to the quirky "Esplanade (Live)", the gentle and reassuring "Flius", and the measured and ravishing escalation of "Mensis." On the second volume, the nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest evokes a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. Sitting alongside Midori Takada's Through The Looking Glass (WRWTFWW 018LP/019CD/019LP, 2017), Ashikawa's Still Way (WRWTFWW 030CD/LP, 2019), Hiroshi Yoshimura's Green (1986), or Yutaka Hirose's NOVA (WRWTFWW 028CD/LTD, 2019), as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners. A note from Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."
Une Collection Des Chaînons I And II: Music For Spiral is presented as two separate double LPs, RIYL: Midori Takada, Hiroshi Yoshimura, Satoshi Ashikawa, Yutaka Hirose. 2LP versions in 350gsm gatefold with selected UV high-gloss varnish, liner notes, sticker.
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CD
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WRWTFWW 039CD
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WRWTFWW Records announce the release of Irish ambient/minimalist producer Gareth Quinn Redmond's Laistigh den Ghleo, a companion album to Satoshi Ashikawa's Still Way (Wave Notation 2) (WRWTFWW 030CD/LP). "Conceptually derived from the work of Japanese minimalist composer Satoshi Ashikawa, I have composed an album which hopes to engage, enrich and reflect the listener's surroundings, an Environmental Music" --Gareth Quinn Redmond. Working with Still Way as a base for inspiration, Gareth Quinn Redmond takes Ashikawa's meditative sound designs to more dramatic and lyrical landscapes, gracefully instilling his personal touch into the master's melodic patterns and presenting six pieces which blend and reflect the modern listener's ever-changing environment. As Midori Takada explains in the liner notes, "Even though Gareth is deeply influenced by Still Way, he looks above, toward the air and the sky. He pays respect to Ashikawa's approach, but adds bold elements from another dimension -- Satoshi Ashikawa aspired to crystallize the sound structure of nature that exists in the environment. Gareth tries to capture what flourishes out of it." Laistigh den Ghleo is released in conjunction with Satoshi Ashikawa's Still Way (Wave Notation 2) reissue on WRWTFWW Records. Liner Notes by Midori Takada and Gareth Quinn Redmond.
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CD
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WRWTFWW 030CD
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WRWTFWW Records announce the reissue of Satoshi Ashikawa's Still Way (Wave Notation 2). Initially released in 1982 as part of the Wave Notation series (which includes Hiroshi Yoshimura's Music For Nine Postcards), Still Way is, without a doubt, a seminal Japanese environmental/ambient/minimalism album, often mentioned alongside Midori Takada's Through The Looking Glass (1983) (WRWTFWW 018LP, WRWTFWW 019CD/LP) and Hiroshi Yoshimura's Green (1986) as one of the genre's most important pieces. "Like the moment of stillness, after the wind passes through the garden, when the rain stops for a brief second..." Notably inspired by Erik Satie's Furniture Music and Brian Eno's ambient work, Satoshi Ashikawa aimed to compose music "intended to be listened to in a casual manner, as a musical landscape or a sound object -- not something that would stimulate listeners but music that should drift like smoke and become part of the environment." The result is simply phenomenal, subtle minimalism and emotional elegance exquisitely orchestrated by Satoshi Ishikawa and his team consisting of his wife Masami Ashikawa (on flute), Midori Takada (on vibraphone), Yuko Utsumi (on harp), Tomoko Sono (on piano), and Junko Arase (on vibraphone). In conjunction with Still Way, WRWTFWW Records is releasing Laistigh den Ghleo (WRWTFWW 039CD/LP), a companion album by Irish ambient/minimalist composer Gareth Quinn Redmond, inspired by Ashikawa's approach. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond. CD version includes a bonus track.
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LP
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WRWTFWW 030LP
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Repressed. LP version. 350gsm sleeve with selected UV high gloss varnish. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond. WRWTFWW Records announce the reissue of Satoshi Ashikawa's Still Way (Wave Notation 2). Initially released in 1982 as part of the Wave Notation series (which includes Hiroshi Yoshimura's Music For Nine Postcards), Still Way is, without a doubt, a seminal Japanese environmental/ambient/minimalism album, often mentioned alongside Midori Takada's Through The Looking Glass (1983) (WRWTFWW 018LP, WRWTFWW 019CD/LP) and Hiroshi Yoshimura's Green (1986) as one of the genre's most important pieces. "Like the moment of stillness, after the wind passes through the garden, when the rain stops for a brief second..." Notably inspired by Erik Satie's Furniture Music and Brian Eno's ambient work, Satoshi Ashikawa aimed to compose music "intended to be listened to in a casual manner, as a musical landscape or a sound object -- not something that would stimulate listeners but music that should drift like smoke and become part of the environment." The result is simply phenomenal, subtle minimalism and emotional elegance exquisitely orchestrated by Satoshi Ishikawa and his team consisting of his wife Masami Ashikawa (on flute), Midori Takada (on vibraphone), Yuko Utsumi (on harp), Tomoko Sono (on piano), and Junko Arase (on vibraphone). In conjunction with Still Way, WRWTFWW Records is releasing Laistigh den Ghleo (WRWTFWW 039CD/LP), a companion album by Irish ambient/minimalist composer Gareth Quinn Redmond, inspired by Ashikawa's approach. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond.
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LP
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WRWTFWW 039LP
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LP version. 350gsm sleeve with selected UV high gloss varnish; WRWTFWW Records announce the release of Irish ambient/minimalist producer Gareth Quinn Redmond's Laistigh den Ghleo, a companion album to Satoshi Ashikawa's Still Way (Wave Notation 2) (WRWTFWW 030CD/LP). "Conceptually derived from the work of Japanese minimalist composer Satoshi Ashikawa, I have composed an album which hopes to engage, enrich and reflect the listener's surroundings, an Environmental Music" --Gareth Quinn Redmond. Working with Still Way as a base for inspiration, Gareth Quinn Redmond takes Ashikawa's meditative sound designs to more dramatic and lyrical landscapes, gracefully instilling his personal touch into the master's melodic patterns and presenting six pieces which blend and reflect the modern listener's ever-changing environment. As Midori Takada explains in the liner notes, "Even though Gareth is deeply influenced by Still Way, he looks above, toward the air and the sky. He pays respect to Ashikawa's approach, but adds bold elements from another dimension -- Satoshi Ashikawa aspired to crystallize the sound structure of nature that exists in the environment. Gareth tries to capture what flourishes out of it." Laistigh den Ghleo is released in conjunction with Satoshi Ashikawa's Still Way (Wave Notation 2) reissue on WRWTFWW Records. Liner Notes by Midori Takada and Gareth Quinn Redmond. LP version comes in 350gsm sleeve with selected UV high gloss varnish.
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2LP
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WRWTFWW 028LTD
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Double LP version. Gatefold sleeve: Includes liner notes in English and Japanese. WRWTFWW Records present an expanded reissue of one of the most fascinating Japanese ambient/environmental albums ever made, NOVA by Yutaka Hirose, originally released in 1986. The expanded reissue includes the album known as Soundscape 2: Nova, sourced from its original masters, as well as four never-released-before recordings over 50 minutes. Initially released in 1986 as part of the Soundscape series. Commissioned by Misawa Home Corporation for use in their prefabricated houses, Yutaka Hirose's NOVA has grown to become a mythical piece of the Japanese minimalist/ambient/environmental scene of the eighties. Initiated around the enchanting landscapes of the two first tracks recorded for the project, "Nova" and "Epilogue", Yutaka Hirose's magnum opus serenely blends vintage synth with nature sounds, exploring soothing palettes and organic backdrops. For "Slow Sky", Hirose explains he "went for a pointillism-like sound, and tried to express a scenery of awakening, where the portal of a heart is opening up", while on "Humming The Sea", he "tried to compose a kind of music that expresses the daily, lazy life of child-like innocence in a summer vacation in some small town." The bonus material gathers four long unreleased pieces created around the same period of time for installations, described by Yutaka Hirose as "not music per se but rather sound sculptures", and including the haunting "Shadow Of A Water Droplet" which was recorded for an Ikebana exhibition. All in all, NOVA + 4 is a transcendent experience of nature in the urban context, an oeuvre which, much like Midori Takada's Through The Looking Glass (WRWTFWW 018LP/WRWTFWW 019CD/LP, 2017) or Satoshi Ashikawa's Still Way (1999), holds the power to appease the soul in turbulent times. As one inspired YouTube commenter once said when describing Yutaka Hirose's masterstroke: "I can't tell if the birds are singing inside or outside! Thank you!" Includes liner notes in English and Japanese.
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2CD
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WRWTFWW 028CD
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WRWTFWW Records present an expanded reissue of one of the most fascinating Japanese ambient/environmental albums ever made, NOVA by Yutaka Hirose, originally released in 1986. The expanded reissue includes the album known as Soundscape 2: Nova, sourced from its original masters, as well as four never-released-before recordings over 50 minutes. Initially released in 1986 as part of the Soundscape series. Commissioned by Misawa Home Corporation for use in their prefabricated houses, Yutaka Hirose's NOVA has grown to become a mythical piece of the Japanese minimalist/ambient/environmental scene of the eighties. Initiated around the enchanting landscapes of the two first tracks recorded for the project, "Nova" and "Epilogue", Yutaka Hirose's magnum opus serenely blends vintage synth with nature sounds, exploring soothing palettes and organic backdrops. For "Slow Sky", Hirose explains he "went for a pointillism-like sound, and tried to express a scenery of awakening, where the portal of a heart is opening up", while on "Humming The Sea", he "tried to compose a kind of music that expresses the daily, lazy life of child-like innocence in a summer vacation in some small town." The bonus material gathers four long unreleased pieces created around the same period of time for installations, described by Yutaka Hirose as "not music per se but rather sound sculptures", and including the haunting "Shadow Of A Water Droplet" which was recorded for an Ikebana exhibition. All in all, NOVA + 4 is a transcendent experience of nature in the urban context, an oeuvre which, much like Midori Takada's Through The Looking Glass (WRWTFWW 018LP/WRWTFWW 019CD/LP, 2017) or Satoshi Ashikawa's Still Way (1999), holds the power to appease the soul in turbulent times. As one inspired YouTube commenter once said when describing Yutaka Hirose's masterstroke: "I can't tell if the birds are singing inside or outside! Thank you!" Includes liner notes in English and Japanese. Double-CD version comes as a digipack.
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12"
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WRWTFWW 041EP
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Repressed. WRWTFWW Records announce the official reissue of Grauzone's essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band's formation. "Ich möchte ein Eisbär sein?" written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from -- the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track? "FILM 2" is the ultimate B-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience. The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence -- simple, stylish, and just right. At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone's music -- wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff. Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label. Grauzone and WRWTFWW will continue to collaborate on the band's 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before. Sourced from the original reels; cut at 45rpm; Includes iconic artwork on a 350gsm sleeve.
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CD
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WRWTFWW 029CD
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WRWTFWW Records present the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain. Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzuru's fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance), Lady Maid is a testament to the creativity of the early '80s Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules. Entirely imagined and brought to life by an inspired Yukio Fujimoto, the six-track opus was conceived with a Korg MS-20, Korg SQ-10, Boss Dr. Rhythm DR-55, and a Texas Instruments Speak & Spell. It's elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The A side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the B side -- a 20-minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous! Includes liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto. CD version comes as digipack and marks the first ever release on the format.
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LP
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WRWTFWW 029LP
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Repressed; LP version. WRWTFWW Records present the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain. Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzuru's fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance), Lady Maid is a testament to the creativity of the early '80s Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules. Entirely imagined and brought to life by an inspired Yukio Fujimoto, the six-track opus was conceived with a Korg MS-20, Korg SQ-10, Boss Dr. Rhythm DR-55, and a Texas Instruments Speak & Spell. It's elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The A side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the B side -- a 20-minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous! Includes liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.
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LP
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WRWTFWW 038LP
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LP version. 140 gram vinyl. WRWTFWW Records present the official reissue of super-rare and fabled prog-rock/library/synth album L'Univers De La Mer by French composer Dominique Guiot. Written, composed and played by Dominique Guiot with his Mellotron, Minimoog, clavinet, organ, and guitar, L'Univers De La Mer draws its inspiration from deep sea exploration, oceanic creatures, and underwater kingdoms. The 12-track album navigates organically through diverse mutations of the prog-rock and synth kind, from scenic meditation pieces ("Wind Surf Ballad"), to medieval electronica ("Une Ballade Pour Une Goélette"), spacey smooth jazz ("Les Deux Poissons"), funked-out fantasy folk ("L'Univers De La Mer"), or even incredible Sega Mega-CD vibes ("La Danse Des Méduses") -- altogether painting a fascinating world of eerie magic and subaquatic sensuality. It's escapism at its best with subtle overtones of Schicke Führs Fröhling, Mike Oldfield, and Claude Perraudin. The sound of the album is brilliantly captured by its surreal cover art, the work of legendary artist Jacques Wyrs, whose memorable record sleeves include Klaus Schulze's Picture Music (1975), Eloy's Floating (1974), Ange's Le Cimetière Des Arlequins (1973), and the 1974 reissue of Larry Coryell's Spaces. Sourced from original masters. LP version comes in 350gsm sleeve; 140 gram vinyl; available on vinyl LP for the first time since 1978.
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CD
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WRWTFWW 038CD
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WRWTFWW Records present the official reissue of super-rare and fabled prog-rock/library/synth album L'Univers De La Mer by French composer Dominique Guiot. Written, composed and played by Dominique Guiot with his Mellotron, Minimoog, clavinet, organ, and guitar, L'Univers De La Mer draws its inspiration from deep sea exploration, oceanic creatures, and underwater kingdoms. The 12-track album navigates organically through diverse mutations of the prog-rock and synth kind, from scenic meditation pieces ("Wind Surf Ballad"), to medieval electronica ("Une Ballade Pour Une Goélette"), spacey smooth jazz ("Les Deux Poissons"), funked-out fantasy folk ("L'Univers De La Mer"), or even incredible Sega Mega-CD vibes ("La Danse Des Méduses") -- altogether painting a fascinating world of eerie magic and subaquatic sensuality. It's escapism at its best with subtle overtones of Schicke Führs Fröhling, Mike Oldfield, and Claude Perraudin. The sound of the album is brilliantly captured by its surreal cover art, the work of legendary artist Jacques Wyrs, whose memorable record sleeves include Klaus Schulze's Picture Music (1975), Eloy's Floating (1974), Ange's Le Cimetière Des Arlequins (1973), and the 1974 reissue of Larry Coryell's Spaces. Sourced from original masters. CD version marks the first CD release of the album.
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LP
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WRWTFWW 033LP
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WRWTFWW Records announce the release of Rare & Unreleased 1971-1998, a collection of never-heard and hard-to-find works by Swiss music pioneer and synth super wizard Bruno Spoerri. Rare & Unreleased 1971-1998 gives a fascinating glimpse into Bruno Spoerri's incredibly inventive repertoire, collecting tracks from projects as diverse as commissioned music for trade fairs, the Swiss railroads, or the union of Swiss cheese makers(!), soundtracks for TV shows about ecology, live synth improvisations at Montreux Jazz Festival, and sound installations for art exhibitions. Always the adventurer, Spoerri records a pneumatic drill for the irresistible electronic bossa of "Konzert für SIG-Pressluftwerkzeuge", mixes train sounds and the EMS Synthi-100 for the joyful lo-fi funk of "Rollin'", lets overheating synthesizers take a life of their own to create the sci-fi ambient of "Waves of Montreux", and works with bees, pigs and various birds for the environmental music bliss of "Rhythm'n bees" and "Birds of Cochin". Synthzerland rejoice, it's time for another captivating journey of sound exploration on Planet Spoerri! Bruno Spoerri celebrated his 83th birthday in August this year. He is still experimenting, recording, customizing audio gear, improvising on stage and in the studio, collaborating (Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod), inventing new sounds and finding new creative outlets. His immense, innovative, and award-filled career started in the 1950s and covers jazz, electronic music, film and TV work, early techno, ambient, and everything in between. Mr. Spoerri has influenced an entire generation of producers and musicians, including Jay-Z who sampled his song "On My Way" (without permission) for "Versus" on Magna Carta Holy Grail (2013) (an agreement was later arranged). This is WRWTFWW's third collaboration with Bruno Spoerri, after the reissue of two seminal albums: 1978's Voice Of Taurus (WRWTFWW 014LP) and 1978's The Sound Of The UFOs (WRWTFWW 015LP). The album is sourced from original masters and available on a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon). It comes housed in a 350g sleeve with a superb artwork by Nicolas Eigenheer, and packed with track-by-track liner notes by Mr. Spoerri. 140 gram vinyl.
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LP
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WRWTFWW 025LP
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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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