Ryuichi Sakamoto (坂本龍一) - Ballet Mécanique - Gemanizm edit

From Album "Bird at Sunrise" (epcd 137)
February 14, 2025 on sale

more info : https://7ep.net/item/epcd137/

Bird at Sunrise

Kid Wave

I Am Robot And Proud / Kid Wave

TOWA TEI 8th album "CUTE" is now only available on http://MACHBEAT.COM

TOWA TEI "CUTE" Preview

#DeepHouse
#HouseMusic
#ElectronicMusic
#TechHouse
#ProgressiveHouse
#DeepHouseVibes
#HouseNation
#UndergroundHouse
#EDM
#ClubMusic
#HouseLovers
#ChillHouse
#NightlifeVibes
#DJLife
#HouseBeats
#DeepHouseMusic
#DanceMusic
#ElectronicBeats
#FestivalMusic
#MusicForTheSoul

Tropical Chill Deep House Mix 2025-Relaxing Summer Mix 1385 Beats Vibes USA

FRIENDS

Chappell Roan Inspired Beat with an experimental blend. Because I’m not sure if that sounds like Chappell Roan’s beat 
but I was thinking of her

Princess of the Ashes

1983　
2nd album “golden hour”

LABEL: kiti 
CAT.NO.: ARTKT-013 (kiti-024)
PRICE: 2,300yen + tax
RELEASE DATE: 2016.08.17
BARCODE: 4941135458136
FORMAT: CD / Digital

TOUR DATES
2016/9/24(Sat)NAGOYA　Brazil Coffee
2016/9/25(Sun)KYOTO　UrBANGUILD
2016/10/8(Sat)TOKYO TSUTAYA O-nest

http://www.the1983band.com/
http://kitilabel.jp/




"Summer Mirage" by 1983

Will the sun ever go down while I am sleeping
or will it up and fly away?

Don't like what I saw today--no ordinary daydream
on the beach with god by my side

Daydream, a day dream
daydream, oohh day dream

Will the sun dry up these clouds while I am swimming
or will they cover all the sky?

Will the sun ever go down while I am hiding
or will it come take me away?

Tired of feeling the rising tide
time to kill the daydream
from the beach my wings start to fly...

daydream, a day dream
daydream, ohh day dream 

Sun Song '70 (Bossa Version) by Yoshinori Sunahara

Ryuichi Sakamoto - Energy Flow (U-Zhaan Rework)

It began with ‘Kwaidan’, a simmering study on the lost art of Japanese ghost story-telling. Then there was‘Komachi’, baptized in the earthly winds and static that define its comforting sonics.

On ‘Kofū’, Meitei masterfully closes his trilogy of lost Japanese moods with an engaging interrogation of artforms and aesthetics as a provocation — or, as fashioned in the album’s subtitle, a “satire of old Japanese aesthetics”. Each entry’s distinct flavour hasearned Meitei acclaim for conjuring a bygone culture through his transportive form of ambient music. ‘Kofū’ arrives as a deconstruction of this approach. His first release with KITCHEN. LABEL, Meitei has quietly defied expectations set by his previous two albums, while continuing to challenge modern notions of Japanese sounds.

Once again, Meitei resumes his focus on a Japan that has long ceased to be. This time, ‘Kofū’ is deliberately playful in bridging a sensibility that connects this imagined past to the present. Fractured piano chords are the first to greet you on ‘Kintsugi’ before they make way for a spectral elegance that parades the haunted mask of Kwaidan on ‘Man'yō’. 

But like an ambient soothsayer schooled in the art of the 808s, Meitei quickly drives ‘Kofū’ with propulsion on ‘Oiran I’, which shares a sibling in Side B track ‘Oiran II’. On both songs, he builds tension served up by flickering hip-hop rhythms — achieved by carefully processing old drum and metal sounds — with a subversive spirit unforeseen in any of his work thus far.

Dissecting vocal recordings to the point of incomprehensibility, Meitei aims for something stirring beyond- words — not unlike J Dilla and his mountain of cut-up soul samples, or The Caretaker with decaying 78s. He abides by a principle attributed to the master Hayao Miyazaki: “Beyond logic speaks of human nature”.

‘Kofū’ allows full immersion into fragments of the past without the trappings of nostalgia. The tracklist is denoted by prominent (and unseen) figures of this history. Tracks ‘Sadayakko’ and ‘Otojirō’ are named after renowned entertainers from the Meiji era, while ‘Nyōbō’ is dedicated to a long-suffering line of working class women within a patriarchal Japanese society. The sounds of ‘Oiran’, sharing the name of the title bestowed upon courtesans, were sparked after learning about the treatment of red light district workers within this era. It paints a grim picture of baidoku (also known as syphilis) and its ravage spread.

These stories cloud the overall mood of ‘Kofū’, but Meitei takes a Mizoguchi-like approach to mould that unimaginable pain with tenderness. ‘Oiran 1’’s hidden subtitle is Hana, and ‘Oiran II’ is Shiokaze. As Meitei explains, “Hana means gorgeous and glorious. Shiokaze is the sea breeze — for her life.” Tracks like ‘Urameshi-ya’ and ‘Gen'ei’ provide a meditative space amidst the turbulence, while ‘Shōnen’ takes a turn for the cinematic. The eight-minute odyssey is engulfed by shadowy voice loops, mixed best for a headphone experience in a solitary setting.

Meitei bids farewell to an expedition first sparked by a passion for a long-forgotten cultural past. ‘Kofū’ is a definitive conclusion with an open invitation to listeners from Japan and beyond — encouraging continued appreciation of this sacred part of history, wholly untethered from the world at large.

‘Kofū’ will be released on LP, CD and across all digital formats via KITCHEN. LABEL. Chihei Hatakeyama mastered this recording in Tokyo, Japan.

Release Date:
CD, Digital - 25 Sep 2020
LP - 30 Oct 2020

Ⓟ & © 2020 KITCHEN. LABEL

I Am Robot And Proud / Kid Wave

7e.p.

Related tracks