Im Jahr 2012 stach aus der Flut elektronischer Musik aus den USA eine neue markante Stimme heraus: ODESZAs Album "Summer's Gone" erhob sich aus der Masse; es war eine Ansammlung von Songs - und nicht nicht nur Beats; unwiderstehlich und von verblüffender Verträumtheit, die sich vom EDM-Schema unterschied. In einem Zeitalter, in dem alles im Internet passiert und Hypes sorgfältig designt werden, ist die Geschichte von ODESZA erfrischend authentisch: ein brillantes neues Duo veröffentlicht seine Musik im Internet - und die Welt schenkt ihm die verdiente Aufmerksamkeit. Harrison Mills (aka CatacombKid) und Clayton Knight (aka BeachesBeaches) begannen ihre Zusammenarbeit nach einem Treffen an der Western Washington University. Die Chemie zwischen den beiden stimmte sofort und das Duo arbeitete überaus produktiv, schnell entwickelte sich eine Handschrift, baute sich ein markanter, typischer Sound auf: impulsiver Gesang, aufsteigende, euphorische Melodien und fesselnde Drums mit einer ordentlichen Portion Pop Appeal. ODESZA begannen, treue Fans um sich zu scharen. 2013 erschien die 5 Song-EP "My Friends Never Die", von der 3 Tracks auf Platz 1 der Hype Machine Charts landeten. Eine lange Tour folgte, dabei spielten sie Shows mit Pretty Lights, Emancipator, Michal Menert und es folgten ausverkaufte Tourneen und unzählige Festivalauftritte u.a. auf dem Coachella. Und endlich ist es hier, das neues Album "In Return"! Durchzogen vom Pop ist es ein elektronisches Wunderwerk, voller mitreißender Hooks. Die Vocals kommen von Zyra, Py und den Shy Girls sowie Madelyn Grant auf "Sun Models". ODESZA werden mit dem neuen Album den gesamten Herbst auf Tour gehen. Sie werden eine Reihe von ausverkaufen Shows in den USA und Europa spielen. "In Return" ist ein Album, mit dem ODESZA an die Spitze der elektronischen Musik aufsteigen wird.

The globetrotting beat maestro is back, with a truckload of tropical vibes and the irresistibly danceable soundtrack to your Summer! 3 years after releasing his groundbreaking collaborative album with singer Chico Mann (which landed him live sets on Boiler Room & KCRW's Morning Becomes Eclectic as well as a feature on NYTimes "Best Songs Of The Week") DJ/producer Captain Planet returns with NO VISA, set to drop June 26th on Bastard Jazz Recordings. In his trademark "Gumbo Funk" sound, the album mixes rhythms and musical styles from the Caribbean, Latin America, the Middle East and Africa, over highly danceable electronic beats, all firmly rooted in the hip hop, dancehall and house music that the Captain grew up playing as a DJ. Seamlessly bouncing from Brazilian Baile Funk, to Afrobeat, to Roots Reggae and Latin House, the entire record delivers the uplifting feel of one of the Captain's legendary boundary-crossing DJ sets. Building on these traditions he draws from, the Captain has created something fully original and unique. NO VISA, the 5th full-length album from producer Charlie Wilder (aka Captain Planet), is both a return to form and a launchpad into the future. With 13 songs that feature vocalists from around the world, long-time fans will recognize several previous collaborators as well as the global influences that have always been central to Captain Planet's music. New friends, like prolific Zimbabwean-American singer Shungudzo (who has recent hits with Oliver Heldens & Rudimental), and Jamaican reggae star Jesse Royal, bring powerful subversive messages to the music as well. Showcasing the Captain's production chops and songwriting talents equally, the album unveils a unique musical landscape, a place where our political boundaries and cultural hierarchies begin to dissolve, where foreign languages mingle together and deep rooted traditions dance with the future. With NO VISA, Captain Planet unveils a fully matured and truly unique form of electronic music- one that bridges gaps between worldwide cultural diasporas as well as contemporary dance music sub-genres (house, hip hop, dancehall & global bass). Throughout every Captain Planet song, it's clear to hear his inspired appreciation for breaking the boundaries between genres and bridging continents through rhythm.

Beyond The Yellow Haze ist die Debüt-Veröffentlichung des nigerianischen Sound- und Installationskünstlers Emeka Ogboh auf Ostgut Tons Sublabel A-TON. Ogboh überlagert in dem Album subtile Elemente aus elektronischer Ambient- und Dance-Musik mit Field Recordings der Stadt Lagos – ein Ergebnis seiner zunehmenden Auseinandersetzung mit elektronischer Musik seit seinem Umzug nach Berlin vor sechs Jahren. Ein Wechsel zwischen musikalischer Akzentuierung und atmosphärischem Wirbel, ein synthetisches Kaleidoskop aus Bässen und Polyrhythmen: Ogboh kreiert in Beyond The Yellow Haze ein atonales Orchester aus Hupen, Motorgeräuschen, Soundsystemen, Verkaufsgesprächen auf Bürgersteigen und diversen Klangartefakten der Danfo-Busbahnhöfe in Lagos. Das unberechenbare Resultat ist einerseits unverortbar, andererseits ortsgebunden. Es lässt sich als rhythmische Aufarbeitung einer weit entfernten Erinnerung der nigerianischen Metropole beschreiben – ein Prinzip, das er auch in Bezug auf seine Sound-Installation Ayilara für den Berghain-Dancefloor im Rahmen der Ausstellung STUDIO BERLIN anwendet. Die Musik von Beyond The Yellow Haze war ursprünglich Teil seiner Einzelausstellung No Condition Is Permanent, die 2018 in der Galerie Imane Farès gezeigt wurde, welche Ogboh als gestempelte und signierte Künstlerausgabe selbst herausbrachte. Beyond The Yellow Haze wird auf A-TON als 2x12'' LP auf schwarzem Vinyl und digital veröffentlicht.


A MAJOR EXPLORATION OF TOKYO'S CUTTING EDGE 80S SOUND THROUGH THE MUSIC OF CULT JAPANESE LABEL NIPPON COLUMBIA AND ITS BETTER DAYS IMPRINT, SELECTED BY BRITISH RADIO PRESENTER AND DJ NICK LUSCOMBE. ‘Tokyo Dreaming’ is a superb selection picked from the highly collectible Nippon Columbia label and its Better Days sub-label. For the occasion, we’ve teamed up with journalist and Japanese music expert Nick Luscombe who was granted rare access to the much-guarded Nippon Columbia's vaults for a masterful selection encapsulating the fascinating sound of Tokyo in the late 70s and 80s. The selection mixes electro, synth-pop, funk and ambient and features such artists as Ryuichi Sakamoto, Mariah, Shigeo Sekito, Juicy Fruits, Hitomi "Penny" Tohyama and Yumi Murata. The tracklist includes many sought-after rarities and hidden gems which have never been released outside of Japan and the set has been newly remastered by Nippon Columbia. The album has been designed by famed London-based designer Optigram and is annotated by Nick. Nippon Columbia, one of Japan's oldest music labels is also one of its most collectible thanks to its sub-label Better Days which, in the late 70s, became a hotbed for Tokyo's new generation of pop artists eager to experiment with ambient, electro and funk. Armed with a string of new Japanese-made synthesizers and drum machines that would soon take the world by storm, they made cutting-edge music, which has since become highly sought-after by a new generation of Japanese music lovers. Nick Luscombe, who has long been a leading advocate of Japanese music from this era, has handpicked a selection of some of the sharpest music released on these labels at the time. According to Nick, “Tokyo Dreaming is a look back to an incredible era of Japanese music, that still sounds and feels like the future. It was a moment when brand-new music tech from Japan helped forge new ideas and experiments that permeated pop, soul and jazz and helped create new forms of music including electro and techno. The perfect meeting point that would help create a new soundtrack for modern living.“ ?The selection starts with "The End of Asia" by Ryuichi Sakamoto from his 1978 ground-breaking debut "Thousand Knives Of" (reissued last year by Wewantsounds). The track became a staple of Sakamoto's and YMO's live shows and was even re-recorded by the group for their 1980 album 'X Multiplies'. The track is followed by Mariah's cult Armenian folk flavoured synth pop classic "Shinzo No Tobira" (1983), which first spread outside of Japan when the Scottish DJ duo Optimo started playing the track regularly at their shows. ?Chika Asamoto's "Self Control" (1988) and Jun Fukamachi's "Treasure Hunter" (1985) are perfect songs in the synth-pop canon, while Yumi Murata's rendition of Akiko Yano's "Watashi No Bus" and Hitomi "Penny" Tohyama's "Rainy Driver" both from 1981, move closer towards the slicker, funkier sound of City Pop. ?'Tokyo Dreaming' superbly showcases the breadth of 80s Japanese music and the way electro pop was a playing ground for musicians to experiment with many styles, as showcased by Akira Sakata's dub-enfused "Room" from 1980, Kazumi Watanabe's discoid "Tokyo Joe" (1980) and Juicy Fruits' "kawai" robotic Techno pop song "Jenie Gets Angry". ?The selection flows effortlessly between many shades of synth and ends with two cult classics in the form of Yasuaki Shimizu's "Semi Tori No Hi" and Shigeo Sekito's ambient-jazz masterpiece "The Word II" from his highly sought-after album "Kareinaru Electone (The Word) Vol.2" which, although recorded in 1975, perfectly announces the synth revolution to come. Tokyo Dreaming showcases the groundbreaking sounds of a city turned giant sonic lab which was restlessly inventing the music of the future. Nick Luscombe is a highly respected and in-demand music influencer who discovers great music from all over the world and shares it internationally through his many radio shows and DJ sets. He has been in charge of music selection for various radio programs since 1999, and from 2010 - 2019, was the DJ for the popular BBC Radio music program "Late Junction”. He has also curated and presented music shows for Monocle and British Airways radio stations. He has worked as both Chief Music Editor at iTunes and Director of Music at London’s Institute of Contemporary Art, and is the founder of MSCTY.

Wewantsounds is proud to announce the reissue of Ryuichi Sakamoto's third solo album "Hidari Ude No Yume" (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Newly remastered from the original tapes by renowned engineer Bernie Grundman, this LP edition comes with original artwork featuring a striking cover shot by famous photographer Masayoshi Sukita (sourced from the original negative), OBI strip and 4-page insert with new introduction by journalist Anton Spice. The album will also be released as a 2-LP limited edition gatefold including the album's full instrumental mix. Ryuichi Sakamoto's third album, "Hidari Ude No Yume" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after "B-2 Unit" in 1980 and his debut album "Thousand Knives Of" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist. ?In 1981, the musician decided to record an album rooted in Pop, following "B-2 Unit" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled "Hidari Ude No Yume," Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. These included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' "Remain In Light" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love'). ?Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. From the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes. The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition. Altogether this International version called "Left-Handed Dream" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of "Hidari Ude No Yume" remains largely unknown to international ears. Wewantsounds is now delighted to release this original Japanese edition for the first time in decades as a single LP together with a 2-LP limited-edition set adding, as a bonus, its fascinating instrumental mix, discovered in the label's vaults a few years ago (Note that 'The Garden Of Poppies', 'Slat Dance' and 'Saru No Ie' are instrumentals but for the consistency of the album we kept them on the Instrumental Mix). "Hidari Ude No Yume" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.

Kave ist ein neues Quartett von Samuel Rohrer, Max Loderbauer, Stian Westerhus & Tobias Freund In der heutigen Ära der medialen Sättigung hat sich das Dilemma des Künstlers von der Frage, ob er disparate Stilelemente miteinander verschmelzen soll, hin zu der Entscheidung verschoben, aus welchen Energien er schöpfen will: eine Situation, die für denjenigen am lohnendsten ist, der den Musikern zuhört, die sich auf diesem grenzenlosen Terrain bewegen. Eine solche Reise, die fesselnde abendfüllende Veröffentlichung von Samuel Rohrers neuem Kave-Quartett, die im Mai dieses Jahres erscheint, bringt Spieler zusammen, die mit der schnell denkenden Mechanik der freien Gruppenimprovisation und den kompositorischen Strategien kontemplativer / "ambienter" elektronischer Musik gleichermaßen vertraut sind. Rohrer und Loderbauer haben zuvor mit dem Ambiq-Trio einen einzigartigen techno-organischen Ansatz entwickelt, und die aus dieser Partnerschaft gezogenen Lehren werden in dieser neuen Konfiguration inspiriert umgesetzt. Stian Westerhus' Beiträge an Gitarre und Gesang sowie die elektronischen Verstärkungen von Tobias Freund - Freund arbeitet seit vielen Jahren auch mit Max Loderbauer als NSI zusammen - verschmelzen zu etwas, das Rohrer treffend als "waldartig" vergleicht. Es ist ein Deskriptor, der für jeden Hörer eine ganz andere Bedeutung haben wird. Für Rohrer bezieht er sich auf Musik, die sich auf die "tiefe Verwurzelung" ihres Fundaments verlässt und von einer Dichte und einem Geheimnis geprägt ist, das leicht mit Dunkelheit verwechselt werden kann, und die dennoch ihr helles Licht beweist.