Ashe

Patrick Ellis - Rainbow-Gored  (K-LONE Remix)

Lien pour acheter la prod : https://traktra.in/c/2s8YmHxjqH
Pour utiliser la prod sur les plateformes (ou clip youtube) il faut acheter une licence.
Mon instagram : https://www.instagram.com/thomas_careil/
mail : thomas.careil.contact@gmail.com

"ALDERAAN" La Fève x Jwles trap jazz type beat

Noah - Plerumque

https://FLAU.lnk.to/Noah-Sivutie

premiered by Noisey by VICE
http://noisey.vice.com/en_uk/blog/premiere-noah-unspoken

Noah - Unspoken

artists   : rei harakami 
title       : lust
catalog : RINC005
barcode : 4988044020696 

【紙ジャケット仕様 / UHQ-CD仕様】

3thアルバム『red curb』以降、リミックスやプロデュースで活動の幅を広げる一方、4年の歳月を費やし、4thアルバム『lust』は2005年に完成した。レイ・ハラカミの代表曲となった10分に及ぶ「joy」、自身初のヴォーカルに挑んだ細野晴臣のカヴァー曲「owari no kisetsu」等を収録し、エレクトロニック・ミュージックの枠を超えて、ポップスとしても多くのリスナーを惹き付けた。音楽家レイ・ハラカミの世界を 完成させた代表作！

【 ライナーノーツ : 原 雅明 / Suzukiski 】


rei harakami / lust -digest mix-

Howie B - Master Inch Mile Haunch (FPM's BOL Remix)

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)

バンコクの夜 A Night in Bangkok

~ LAAPS 005 ~ [SEQ.01 - LP05]

artists : Tomotsugu Nakamura
album : Literature
duration : 40.24 mn
 date : July 13th, 2020

edition :
-  vinyl : limited to 200 copies / yellow colored vinyl / hand numbered 
- cd : limited to 200 copies / hand numbered + handcrafted, sealed

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pre-order : June 22th, 2020 / official release : July 13th, 2020

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All songs written and produced by Tomotsugu Nakamura

Mastered by Taylor Deupree
Artwork by Nicola Odemann
Design by Sprflxgrfzm

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Links :
https://laaps-records.com/
https://www.facebook.com/laaps.records/
https://tomotsugu.bandcamp.com/
http://tomotsugu.tumblr.com/

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℗ & © 2 0 2 0 - L A A P S - L A A P S 0 0 5

Tomotsugu Nakamura - Literature (album preview)

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)

FLAU is a record label based in Tokyo, Japan.

general inquires: flau@flau.jp
press: press@flau.jp

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Noah - Plerumque

FLAU

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