Name: Flau Records FADER Mix by The FADER
Duration: 45 min
Description: http://www.thefader.com/2012/08/28/download-flau-records-fader-mix

where do you find all these amazing people?

i love this mix so much. think i found a new home here. your label is great

Vraiment Fantastiquabuleusement! Bravo! Encore encore!

https://flau.jp/releases/wind-letter/

Machinone, an enigmatic artist who composes music based on "town (Machi)" in the broad sense of the word, will release his third album.  Acoustic guitar and small piano are spun in a simple and gentle manner.
On top of variously designed instruments and objects, a faintly imaginary world rises up and opens a new door.

Following the 1st album Tokyo, which depicts the west side of Tokyo, and Pieni, which expresses the compassion for the towns and small things in our memories, Machinone's third album is an imaginary wind letter that has arrived in our time. Using the title "Wind Letter" and the melody of the title track as a clue, Wind Letter was constructed with a slightly sci-fi story in mind. In addition to the gut guitars, small pianos, banjos, and prepared guitars that characterize Machinone's music, this album also features triangular analog string synthesizers, cheap keyboards, triangles, and denden taiko (Japanese pellet drum). The result is a varied and, in some songs, magical ensemble. From the keywords that influenced the album, such as Draisine, Chacun cherche son chat (Cédric Klapisch), Niewinni Czarodzieje (Andrzej Wajda) and Frank Patterson's Cycling Eutopia, as well as the stories brought by the various invisible forms of wind indicated in the song titles, may give you a sense of longing for the near future and the past that does not exist, and a soft look at contemporary society. The world changed dramatically during the making of this album, and the songs that were created to dispel this change are a collection of small pieces that have a hint of brightness and comicality, and give a sense of a new swing for Machinone as a musician.

Machinone - Kazeyoubi 風曜日

The far-off piano in ‘Gemini — Mysterious Lot’ is captivating enough, but add to that the late-night strings, bubbling bass and energetic percussion, and it seems that Noah has created an instant classic for an after-dark atmosphere.

Noah - Gemini ― mysterious lot

From Disc 2 of double disc album "鬼火" (epcd 092/3)
2016/10/12 on sale

See details→https://7ep.net/item/epcd092_3/

yumbo / 鬼火 (Onibi)

2016年9月24日に横浜中華街「同發」で行われた空気公団Liveのために製作された会場BGM。「おはよう今日の日」という曲をMartin Dennyのカバーで有名なLes Baxterによる「Quiet Village」化しています。

芯空 おはよう今日の日

from 1st Album "Interior" 

iTunes: https://itunes.apple.com/jp/album/interior/id1226878067
Bandcamp: https://fumin-label.bandcamp.com/album/interior

Spell (from 1st Album "Interior")

http://www.thefader.com/2012/08/28/download-flau-records-fader-mix

Flau Records FADER Mix

Naive Super is...
Solo project of Yushi Ibuki, the keyboardist of Pictured Resort (@pictured-resort). 

ARTIST: Naive Super
TITLE: Pacific Sketches
TRACK LIST: 
A1. Pacific Sketches
A2. Feel My Body Electric
B1. The Moment Of Our Sweet Revenge
B2. No Place Like A Quiet Beach

Guest Vocal & Chorus (A1-4): Eri Nakajima (from @youarewallflower)
Guest Guitar (A1): Koji Takagi (from @pictured-resort)
Guest Guitar (A1-2): Sunao Hiwatari (from @luby-sparks)

LABEL: Sailyard, SLYD-013
RELEASE DATE: 3rd July, 2019

Pacific Sketches

Naive Super - Pacific Sketches (from 1st EP "Pacific Sketches")

The duo transform Squarepusher’s jazzy clash of beats and instrumentation that is ‘Iambic 9 Poetry’ into a propulsive new track decorated with curling cello and melodic piano.

Seigen Tokuzawa & Masaki Hayashi - Iambic 9 Poetry (Squarepusher Cover)

Yanokami (Akiko Yano & Rei Harakami) - Ruby Tuesday

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

Meitei - Sadayakko (Kofū, 2020)

taken from the forthcoming album 'WAKEN' 

Shedding the fog and haze of dream-pop, Cuushe puts clear outlines on her music with new album WAKEN — a collection of vital, dance floor-ready beats and analog soundcsapes woven with her newly freed voice.
Big, bright and beautiful, ‘Hold Half’ cartwheels into a world of vital sound, warm chords, crashing beats and Cuushe’s voice leaping with newfound energy.

Cuushe - Hold Half

The FADER is the definitive voice of emerging music and the lifestyle that surrounds it. Through in-depth reporting and a distinct street sensibility, The FADER aggressively covers the most dynamic breadth of music and style emanating from the fringes of the mainstream to the heart of the underground. The FADER is the authority on what's next.

Flau Records FADER Mix

The FADER

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