Nice mix!  good synergy mix with original oriental tune :)

小池玉緒_鏡の中の十月 (DJ COMMON PUNCH Edit)

Vocals by https://soundcloud.com/Miscliqued
Thanks a lot.

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YMO (Yellow Magic Orchestra) - Tong Poo (OMOO Club Mix)

ピチカート・ファイヴ 悲しい歌 2011 Remix .... remixed by YKO .... pizzicato five triste yko remix

Pizzicato Five "悲しい歌 (YKO Early Summer Mix)" [Remix]

Mondo Grosso feat Hikari Mitsushima - Labyrinth (Bar iemon's Extended Morning Re-Blend)

Tong Poo Music by YMO (Thanks 100 download!!)

Azur

Words & Music : Tsudio Studio

邪でも
続くような
苦しみさえ
答の様
新しい喜びにさえ
思う　

代わりに笑う
怒りの心
賭けに負けるのは
嫌？　

単純だけど
曖昧な言葉

交わすのは空気じゃない

偶然だけど
完璧な言葉

汚くて羞恥がないのに

残念だけど
14じゃないし

悲しみよこんにちは

退屈なのに
空白が好きだ

あまりにも大きな声だな

私だけの
夜になって
傷つけては
確かめてる
新しい喜びにさえ
思って

形にはめる
不安な心
賭けに負けたのが　
嫌？

Port Island

Download

Azur

attune detune

Labyrinth-Thousand Tears Orchestra Version

The original remixed by Yukihiro Fukutomi 1994

Pizzicato Five - The Night is Still Young (東京は夜の７時) (narunaru Instrumental Climax Re-Edit)

Akiko Yano - Tong Poo

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

YMO (Yellow Magic Orchestra) - Tong Poo (OMOO Club Mix)

OMOO

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