The Problem of Leisure: A Celebration of Andy Gill and Gang of Four is a double album of tracks written by Andy Gill and Gang of Four - all newly reinterpreted and recorded by artists whose own unique contributions to music were enriched by listening to Gang of Four. Andy Gill died unexpectedly on February 1st, 2020, and in May 2021, the world gets a new way to enjoy his genius and the lasting brilliance of the band he co-founded. With original artwork by Damien Hirst.

The new chapter in the MILIM KASHOT series of compilations, marking 10 years to the establishment of the Machine Music blog, includes some of the boldest, exciting voices in contemporary metal and hardcore. Given the upheaval the entire world has experienced in the last few months we felt it appropriate to highlight the force of true, forceful art being created around the globe.
And while this collection was in the works before the onset of COVID-19 this massive event has further emphasized the importance of a global connection. It is for that reason that ALL PROCEEDS from the sale of this compilation will be donated to:
The Global Foodbaking Network, an NGO with links to food security groups in over 40 countries. In addition a portion of proceeds will also be given to For the Wildlife animal sanctuary. More info here:

en.forthewild.life/about
|||| ARTIST AND TRACK INFO ||||
Chrome Ghost (USA): One of the best contemporary doom/prog bands, Chrome Ghost weave the loneliness and tenderness of folk with the excess and might of doom, with their most recent album The Diving Bell, representing some of the best metal of 2019.... We are honored to include an acoustic version of their 2017 song “Mist in the Clearing. FFO: YOB, Pallbearer, Huntsmen.
Listen and Support Here: chromesludge.bandcamp.com
Katzon La’tevach (ISR): An international collective spanning Tel Aviv and Madrid, Katzon La’tevach are one of the best and latest additions to the hardcore/grindcore scene, incorporating elements of hardcore, melody, screamo, and more. “Good News” is taken from their stunning 2019 demo, Like Lambs to the Slaughter. FFO: Portrayal of Guilt, Shin Guard, Frail Body.
Listen and Support Here: katzonlatevach.bandcamp.com/releases
Split Cranium (USA/FIN): An intercontinental collective of violent, urgent sound, Split Cranium brings together Aaron Turner (ISIS, SUMAC, Old Man Gloom, Hydra Head Records), Faith Coloccia (Mamiffer, Sige Records), Nate Newton (Converge, Old Man Gloom), and Jussi Lehtisalo and Tomi Leppänen of the Legendary Finnish experimental groups Circle and Pharaoh Overlord and unleashes a fury of unhinged hardcore and noise. The track included here, “From Horizon’s Gleam” was previously only available on the Japanese version of the group’s 2018 debut on Ipecac Recordings, I'm The Devil and I'm OK. FFO: SUMAC, Full of Hell, Dead in the Dirt.
Listen and Support Here: splitcranium.bandcamp.com
KIP (ISR): For nearly two decade KIP (formerly Kruzenshtern i Parohod) have been a singular, unrelenting, and unmatched voice in both Tel Aviv experimental music scene as well as anywhere else on earth. They meld together influences ranging as far as traditional Jewish klezmer music and death meat and post rock to create a sound like none other, equal parts crushing and reflexive. We are honored to present here the second track of their upcoming album, the successor to their brilliant 2016 album, HYMNS. FFO: John Zorn, Cleric., Kayo Dot.
Listen and Support Here: kruzenshterniparohod.bandcamp.com
God’s Bastard (USA): God’s Bastard, simply put, is one of the best new black metal projects in the world today, one that has been flying under the radar, but not for long. Composed of members of such NY bands as Floods and Krallice, GB succeeds where so many contemporary black metal acts fail, which is the eliciting of true, exposed emotion while delivering an unrelenting mix of attacking riffs and melodic interludes. Sleep on them and pay the price. FFO: Yellow Eyes, Ash Borer, Panopticon.
Listen and Support Here: godsbastard1.bandcamp.com/releases
HAR (ISR): Since their stunning 2014 debut HAR has been one of the best metal bands in the Israeli scene, forging ahead with their unique, occultish blend black metal attitude and death metal-like walls of sound. Brooding, heavy, and emotionally engaging, they are now one of the best bands working in this murky twilight area of metal in the world, as seen in their recent releases via Blood Harvest Records and their participation in 2019’s Killtown Deathfest in Denmark. Their track “Shachat” comes off their excellent most recent demo, Anti-Shechinah. FFO: Teitanblood, Diocletian, Archgoat.
Listen and Support Here: harmetal.bandcamp.com
Decoherence (GBR): The brainchild of brilliant multiinstrumentalist Stroda, Decoherence burst unto the black metal map with their self-titled debut EP, released by Sentient Ruin Laboratories in 2019, quickly following up with their full-length debut later that year. Equal parts dissonant and melodious, Decoherence create a mode of dark atmospheric black metal that is all their own, a mix that is as soothing as it is terrifying. For this current compilation we were honored to received a previously unreleased track, “Nonlinear Evolution.” FFO: Abyssal, Haunter, Serpent Column
Listen and Support Here: sentientruin.bandcamp.com/album/decoherence
MICO (COL): Sharpening all modes of aggressive, unhinged heaviness into one pointed stick Colombia’s MICO make some of the most powerful, heavy, wrenching music today. Combining influences from anything from New Zealand’s death metal pioneers Ulcerate to Converge, Full of Hell, and all the way to screamo and grindcore, their passion and commitment to beautifully wrought aggression cannot be matched. “Ecdisis” is one of two recent singles released by the Cali band, with hopefully much more to come. FFO: Ulcerate, Full of Hell, Portrayal of Guilt.
Listen and Support Here: micolandia.bandcamp.com
Lehavoth (ISR): Local legends Lehavoth have had a long, storied career, from their black metal beginnings to their more current death metal sound. There is no band quite like Lehavoth, bringing together the estranged foreboding of Godflesh and Pitschshifter together with the massive aggression of classic death metal. Never officially released until today, “Ghostnation 2” was originally recorded in 2003 in Belgium’s CCR Studios with the band’s then lineup, which included former members Haim Binyamini (Whorecore) and Nir Gutraiman (Salem). FFO: Full of Hell, Hate Eternal, Aborted.
Listen and Support Here: lehavoth.bandcamp.com
An Isolated Mind (USA): Anyone who encountered AIM’s 2019 debut album knows the feeling of crashing into a rare kind of beauty, both dissonant and melancholy. Kameron Bogges’ artistic vision is staggering in its emotional and musical complexity, of a rare breed reminiscent only of such singular prog/metal artists such as Kayo Dot or early Devin Townsend. Being day one fans of AIM (literally) we were thrilled for the opportunity to include this unreleased 2015 track as part of this compilation. FFO: Kayo Dot, White Ward, Mizmor.
Listen and Support Here: anisolatedmind.bandcamp.com
Esoctrilihum (FRA): The French one-man avant-black project is imprinted in most listeners’ minds not only for his uncanny knack for complex-yet-engaging black metal but for his seemingly inhuman pace and discipline. With five mind-bending full length releases in a little under four years, Esoctrilihum has practically forced the metal underground to take heed, and heed they have taken. On par with such individual levels of talent as Ihsanh or Ivar Bjornson, Asthâghul’s star is on the rise, with the best, no doubt, yet to come. FFO: Haunter, Deathspell Omega, Mare Cognitum.
Listen and Support Here: i-voidhangerrecords.bandcamp.com/album/eternity-of-shaog
Aravim (ISR): A brand-new project comprised of members of some of the best, most influential bands in the Israeli metal/noise/sludge underground, Aravim is a surprising and refreshing step toward the heavy metal desert. Literally, Taken its musical and thematic cues from a Mad Max-like world of steel and leather and mixing in more than a few prog/glam sensibilities, Aravim deliver with their debut single a head-spinning mix of brains and flash. FFO: Judas Priest, Eternal Champion, Sumerlands.
Holocausts (ISR): This bass-drum duo delivers not only the instrumental foundations of punk rock, or rock, for that matter, but manages to distill the poppy essence of even the harshest of hardcores. Equal parts catchy and abrasive Holocausts exhibits the rare ability, rare for any band, let alone one this young, to write impeccable songs and deliver them as if they were improvised on the spot. For this compilation the band recorded its cover of t “Sulcha Im Ha’Hamas” by local punk legends Neלhei Na’atza. FFO: Lightning Bolt, Haram, Impalers.
Listen and Support Here: holocausts.bandcamp.com
Fawn Limbs (FIN/USA): Bridging such illustrious legacies as the noir destruction of bands such as Celeste or Plebian Grandstand and and the math/hardcore/grindcore mode of direct assault Fawn Limbs burst onto the scene with their brand of unforgiving, intense, and emotive chaos. Glitching from death metal, black metal atmosphetics, and hardcore intensity they are one of the most interesting new bands to come up in recent years. Their track featured here comes off their full length debut, Harms Remissions, released in late 2019. FFO: Celeste, meth., Artificial Brain.
Listen and Support Here: fawnlimbs.bandcamp.com
Emptiness (BEL): In the simplest terms Emptiness is one of the best, most unique metal bands working today. Slowly carving a niche all their own, the Belgian veterans moved slowly away from the black metal of their youth into the unchartered waters of gothic, sometimes romantic, dissonant amalgam that serves as the foundations for their two most recent masterpieces, Nothing But the Whole, and Not For Music. Ahead of the release of their new album via Season of Mist later this year the band has generously provided “Digging the Sky,” which is, for our money, the jewel in the murky crown that is 2017’s Not for Music. FFO: Urfaust, Deathspell Omega, Terra Tenebrosa.
Listen and Support Here: emptiness.bandcamp.com
Cruel Wonders (ISR): Ever since their formation in the beginning of the previous decade Jerusalem’s Cruel Wonders has continuously evolved their eerie, moving and consistently beautiful combination of neo-folk, doom, and drone. With Tamar Singer’s unmistakable voice (Zeresh) and Vlad Shusterman’s knack for unsettlingly sweet melodies (Ghost Bike, Sleep’s Sister) they have been one of the most original voices in the Israeli underground. Featured in this collection is the first track to be released from their much-anticipated second album, coming later this year. FFO: Rome, :Of the Wand and the Moon:, Darkwood.
Listen and Support Here: cruelwonders.bandcamp.com/releases
Deathsiege (ISR): Deathsiege is the latest addition to Tel Aviv’s death metal scene, that has, slowly and steadily, become one of the best locations for OSDM-inspired metal in the world. Bringing together members from HAR and chaotic black metal group Svpremacist, Deathsiege is powerful, if brief, lesson in controlled chaos. Featured here is the title track from their recent EP, a must listen for any death metal follower. FFO: Undergang, Fetid, Hyperdontia.
Listen and Support Here: deathsiege.bandcamp.com
Spectral Lore (GRE): Greece’s one-man project Spectral Lore has and remains an almost constant presence in the underground black metal scene of the twenty first century. Blending elements from traditional black metal with progressive and sometimes middle eastern elements and ideas, it has come to be known, and rightfully so, as one of the most creative, innovative, and impeccably executed acts in the underground, with Ayloss’ knack for intervals of pure aggression and magical tenderness setting the mark. As part of this collection we are more than honored to include one of PL’s defining tracks, “A God Made of Flesh and Consciousness,” from his brilliant 2015 EP Gnosis. FFO: Midnight Odyssey, Panopticon, Woe.
Listen and Support Here: spectrallore.bandcamp.com
Bormavet (ISR): Relative newcomers to Tel Aviv’s death metal scene Bormavet nonetheless pack quite a few years of experience and sonic agony in the form of its members past and present roles as musicians and engineers. Compact all that experience into musical form and what you get is crushing death doom of the highest order, one that we are proud to say sees its debut in this very collection. FFO: Winter, Coffins, Vastum.
Brii (BRA): Part spiritual techno party, the kind held in a dense forest under a full moon, and part black metal ritual, Brii is one of the most exciting new voices in global black metal, part and parcel of a wave of fresh, cerebral and emotional South American black metal including projects such as Kaatayra, IER, Ühtceare, Offenbarung, and others. Spiritual, piercing, experimental, cathartic, and just staggeringly beautiful. As their contribution to his collection Brii have honored us with the debut of a brand new track. FFO: Kaatayra, Urfaust, Alda.
Listen and Support Here: brii.bandcamp.com/releases
Raat (IND): Atmospheric black metal of the highest order, that’s what you get with the ethereal, shimmering and often aggressive one-man project Raat. Impressive in both his ability to release staggering amounts of music as well as for the consistently high quality of those releases, Raat has become, at least for me, a must listen ever since hearing its debut EP Déraciné in late 2019. And as part of that wondrous streak of atmospheric, at time post-rock magic we are proud to debut a new track from this prolific and exciting new artist. FFO: Sadness, Lustre, Cold World.
Listen and Support Here: raat.bandcamp.com
Deep Half (ISR): Firmly grounded in Israel’s hardcore and post-hardcore scene Deep Half brings a heavy dose of classic AmpRep angst and aggression delivered with loose, sardonic despair. Melodic, chaotic and a must listen for anyone with an year for early-mid 90s angular post-everything. Music to throw beer bottles at the wall with. FFO: Unsane, Hot Snakes, Mclusky.
Listen and Support Here: deephalf.bandcamp.com
Victory Over the Sun (USA): A blaze in the western sky, that’s probably the best way to describe our and, frankly, anyone’s reaction to the striking debut delivered in early 2020 by Oregon one-woman black/prog/post/whoknows metal project Victory Over the Sun. Experimental tendencies mixed with moments of almost ecstatic rage, woven together to create a whole that far surpasses the sum of its excellent parts. It may take a while to let it all sink in, but once it does VOTS is not something you could forget, not that you would ever want to. The enclosed track is the stunning opener to VOTS equally stunning A Tessitura of Transfiguration. FFO: Kayo Dot, Dysrhythmia, Serpent Column.
Listen and Support Here: votsband.bandcamp.com
Funeral Demon (ISR): A one-man project out of the suburban town of Holon, Funeral Demon has been operating for years well under the radar of even the most underground black metal scene. Sharing some its sonic attack with harsh greats such as Xasthur or Leviathan, Funeral Demon is a full-on assault of depressive black metal, meticulously executed, beautiful written and immediately affecting. With this exclusive track one may hope this underground flower will shine on the many more listeners it deserves. FFO: Xasthur, Nyktalgia, Striborg.
Listen and Support Here: funeraldemon.bandcamp.com
Wyrgher (CHE): The Helvetic Underground Committee is one of the best, most mysterious, and brilliant collective of black metal artists in the world today, spawning an unbelievable string of releases in recent years that includes Ungfell, Ateiggär, Death. Void. Terror, Kvelgeyst, and more. Coming in on the harsher, more nihilistic end of this amazing group comes Wyrgher the project of Ungfell and Ateiggär’s Menetekel that is as unrelenting as it is fearless and, dare I say, beautiful. We are honored to include in this compliation one of Wyrgher’s hitherto unreleased tracks. FFO: Ungfell, Akitsa, Sargeist.
Listen and Support Here: wyrgher.bandcamp.com
Locust Leaves (GRE): If you're going to end a compilation of incredible music and art then you might as well end with a bang, right? If by "bang" you mean a 20-minutes unreleased track from one of the most unique and awe-inspiringly creative metal acts, Greece's elusive Locust Leaves. Coming from the same sessions that birthed their masterful 2017 albumA Subtler Kind of Light, the fittingly named "Farewell" encapsulates all the things that made the album, and Locust Leaves so special: fearless songwriting, daring experimentation, all packed together with a strong sense of the "metal" tradition and some of the genre's more melodic proclivities. As with the case with the striking image above, it is art at its very definition, both free and constrained. FFO: Spectral Lore, Krallice, Gorguts.
Listen and Support Here: i-voidhangerrecords.bandcamp.com/album/a-subtler-kind-of-light more

90 年魔岩唱片成立以来，始终坚持开更多音乐型式的可能性，这期间曾经倍尝艰辛，也曾收穫甜美，但蕴藏在这背后对音乐的热情，却是来自于每一次初听新音乐DEMO 的惊奇和乐趣。"魔岩十大魔王之群魔乱舞" 正是在这样的心情之下诞生的专辑。这张专辑融合魔岩旗下台，港大陆三地共十位艺人最新创作单曲的合辑。其中的艺人，有些是首次发表作品的新人，也有些是极负盛名得歌手，他们大部分独力完成歌曲的创作，或是负责作品中最重要的创作动机，即使一些新曲因为新鲜的生命力而闪烁跳跃，充满着冲撞人心的音乐气魄。这可说是一张集音乐型式大成得全新合辑，曲式和词意的丰富多变相信可以让你在听觉上获得意想不到的魔幻和趣味。

*Please keep in mind that we have several different agreements in place with the artists. This has resulted in a seperate tracklisting per medium. This is also the reason that we can't offer the digital version together with the vinyl/CD version unfortunately.
Music From Memory are excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.
The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even... within Japan.
Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.
Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.
The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.
This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.
Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored. more

RIFT One is the first instalment in a series of releases curated by YEAR0001, featuring contributions and commissions by a variety of highly innovative and influential artists.
By releasing this compilation ahead of schedule and donating all proceeds from purchases directly to community bail funds, mutual aid funds, and racial justice organisers we hope to make a small contribution towards awareness and change, and encourage our community to act against injustice and stand together in solidarity.
Racial injustice, white supremacy and all forms of discrimination simply has no place in the culture we represent; we will continue to educate ourselves, listen, learn and find more ways to support both in a short and long term perspective.
All future entries of the RIFT compilation series will also donate to humanitarian organisations and funds.
We thank everyone who have contributed to this compilation.
Please also consider to donate further & educate yourself through the link below
blacklivesmatters.carrd.co

Once again the team at Unrush has gathered their energy and spirits, putting together a dazzling array of ambient excursions from artists otherwise known for their techno, house, and electro cuts. As with the last cassette, the focus here is on showcasing new works and channeling the result into diminishing some of the strains on people's lives, with all proceeds going to help4people in Berlin.
This cassette sees the debut of Unrush founder Mareena, who has worked in collaboration with JakoJako to make a poignant piece entitled "Füreinander", which translates to "For each other". Indeed this is the spirit of what Unrush does, providing a safe musical space for others to explore. This disposition remains throughout the selections, with appearances from electro giants such as The Exaltics, Plant 43, Dez Williams, and Kuldaboli, all of which provide an exquisitely elaborate palate of tones, moods, and rhythms. Irakli, Artefakt, and Tomi Chair all step away from rhythm entirely and instead traverse a more pastoral plane, both in light and in darkness. Berlin mainstay Stojche brings his unique blend of seasoned downtempo house, while newcomers Carlota and Atariame round out the release with something completely different altogether.
Taken together, this collection of tracks is an ode to the... quiet moments where truth shines in. Where you see between the cracks of your life and gaze upon the interconnectedness of everything around you. Take it in and feel yourself Unrush.
Cat# TUT02
© 2020
Written and produced by the artists
Design by Irakli Kiziria
Text by Nathan Levenson
Mastering by Emanuele Pertoldi (Shaded Explorer) more

The Sustain Series project continues with its second volume, 24 recycled forms created from old and unused material. Since the release of Volume 1 in November last year, more artists have come together to salvage, repurpose, restore and deconstruct each other’s pieces, or collaborate on a particular idea. What results is a growing variety of approaches and outputs, from minor embellishments to full disfigurement.
Volume 2 moves thematically, as if in four chapters, from the expressive openers, through enchanting natural-sounding pieces, before opening up to more ethereal expanses, and finally darker and more thoughtful ones. As it does, visions emerge of our natural world - its power, its beauty and its vulnerability.
As before, all Bandcamp proceeds will go to a environmental organisation (TBC), in order to support the movement towards sustainability.
Ambientologist would like to thank all the artists involved, for participating in this project, lending their skills, and contributing to such a diverse collection of pieces.
~
Composed, performed and reworked by the... artists named
Additional material by Glassing on track 14
Mastering by Ian Hawgood
Image by and copyright of Fran McNamara

Design by Ambientologist more

Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.
Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.
These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.
Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.

Habibi Funk is dedicated to re-releasing a style of music that historically never existed as a musical genre. We use the term to describe a certain sound that we like from the countries of the Arab world. The songs we chose were created in places quite far from another and under very different circumstances. Some were written and recorded during war times, others in exile. Despite the differences we think there is a musical connection between them. Essentially, we are interested in the musical endeavors, in which artists from the Arab world mixed local and regional influences with musical interests that came from outside of the region. Even though the name suggests it’s all about funk music, our focus is more than just that. Often these influences might be inspired from Western popular music such as soul, pop and rock but it’s not limited to that either. Some of our favorite records are best described as Arabic zouk (a genre originating from the Caribbean islands of Martinique and Guadeloupe) like Mallek Mohamed’s music, Algerian coladera (a popular musical style from the Cape Verdean islands) or Lebanese AOR, which means the process of musical influences displayed on this compilation was much more versatile than just taking Western music as a blueprint and translating it with a local accent. The compilation features 15 different artists. Some you might already know thru Habibi Funk’s releases like Fadoul, Ahmed Malek, Dalton or Al Massrieen, while others are meant as an introduction to artists like Kamal Keila, Sharhabeel Ahmed, Attarazat Addahabia & Mallek Mohamed who will all release full length albums on Habibi Funk in 2018.
In todays world there are still many stereotypical conceptions to be found when it comes to the Arab world. Contrary to what a lot of Western narratives and media suggest, the Arab world we got to know through extensive traveling in several countries of North Africa and the Middle East, is a very versatile terrain. A place full of different stories, ideas and beliefs. And we hope that the music we release helps as a tiny, tiny piece of a larger puzzle to establish a diverse, more nuanced yet adequate idea of how musically vibrant this very diverse region once has been and also still is. At the same time we do not want anyone to misunderstand this compilation as a selection of songs to represent Arabic musical history of the 1970s and 1980s. This compilation is nothing more than a very personal curation of songs we like and in no way reflects on what has been popular in a general sense.
All tracks on this compilation are directly licensed from the artist or, in the case of artists who are sadly no longer alive, from the artist’s family. There are three exceptions: Hamid Al Shaeri’s track was licensed from SLAM! and the tracks from Belbao and Attarazat Addahabia were both licensed from Boussiphone. As a European label dealing with non- western artists we try to be aware of the responsibilities that derive within the making, seen from a post-colonial point of view by demanding ourselves not to reproduce exploitative economic patterns. We split all of the profits from our releases equally with the artists without deducting any costs that are not directly related to the release .Our agreements are license deals with limited terms after which the rights fall back to the artist or the artist’s families. We think it is important in today's reissue market, where too many shady business transactions happen, to be transparent about our licensing policies.

華人世界最舒服的一張單車隨身樂
五月天、陳綺貞、蔡依林、陳昇、孫燕姿、張震嶽、張韶涵、自然捲、伍佰、旺福、梁靜茹、周華健、萬芳、張懸…天王天后總動員，全力「聲」援你單車壯遊全台!
隨時可以讓你心情快樂起來的30首超級名作!
純粹的生活 簡單的感動 ~ 聽風的歌
特別為您收錄華語天王天后最輕快動人的歌曲，陪你單車樂逍遙，
伴你在人生路上勇往直前!
徜徉在山林田野之間細細品嘗五月天的人生海海；在阡陌縱橫當中馳騁體驗劉若英到處亂走的自在；迷路時依稀聽見陳綺真呢喃著讓我想一想；在沒有盡頭的上坡路段林強的強力節奏催我向前走，即使被困在都市叢林的紅燈車陣當中，依然能夠享受卓文萱的獨家快樂……當風呼嘯過耳際，我依稀聽見它唱著歌呢！

Behuá Icára - Ritmos para Sanar Vol.2 is our second compilation in order to support artists from the Amazonian ethnia Shipibo Konibo Xetebo in Ucayali, Perú. All profits will go directly to the Shipibo Konibo Xetebo artists that has participated in the compilation.
In some of the tracks there is a collaboration between Shipibo artists and a producer, like Peruvian producer Valicha, with Shipibo deceased maestra Panshin Beka also known as Olivia Arévalo “The last Meraya”, Shipibo Rapper Wihtner FaGo with Eomac from Ireland, Reshinjabe also known as Olinda Silvano with Carmen Villain Norwegian Mexican as well with Ciel from Canada, from Colectivo Shipibas Muralistas Milka, Nimia, and Shipibo artist Rawa has collaborated with Peruvian producer Aristidez.
The artwork is based on Shipibo artist Lastenia Canayo aka Pecon Quena and his guardian "The Maquisapa Monkey", with the graphic designer Beto Prieto, and the Xao Kené pattern by the Shipibo artist Inin Bita.

(English Bellow)
La totalidad de las ventas serán donadas a la comunidad Shipibo-Conibo Xetebo, a través de la organización Coshikox y a líderes de las comunidades.
Los guardianes ancestrales de las plantas medicinales de los pulmones de nuestro planeta – el Amazonas – así como también del lenguaje, historia y cultura étnico-amazónica es la comunidad Shipibo – Conibo Xetebo. Y así como otras comunidades de la Amazonía, siguen estando en dificultades, no solo debido al calentamiento global, a la indiferencia institucional hacia las minorías; sino ahora con más urgencia debido al COVID-19.
Los líderes medicinales shipibos practican la curación a través del sonido y los cantos llamados ÎCAROS, y creemos que esto puede ser un punto de inspiración para la música electrónica. Es por ello el nombre del compilado, que en Shipibo Conibo quiere decir Behua - cantos,e Icára - para hacer curaciones, lo cual nosotros lo podemos interpretar como ritmos para sanar.
Agradecemos especialmente a la comunidad Shipibo Conibo Xetebo, por confiar en el proyecto a través de Olinda Silvano, Lastenia Canayo, Ronald Suarez, Wihtner FaGo, MC Shipibo que... compartió su acapella para "Non Nete"; al padre de Wihtner, Pexe Nima maestro del Tabaco, por compartir su canto sagrado para "Moleküle", a Rawa por otorgar su ícaro para "Quincemil".
Agradecemos a todos los artistas por compartir su trabajo, más aún sabiendo que para ellos son también momentos difíciles. Por favor visiten sus páginas de Bandcamp, compren su música, síganlos en Soundcloud, redes sociales, todo ayuda!
English info
All sales will be donated to the community Shipibo-Conibo, through the Coshikox organization and community leaders.
The ancestral guardians of the medicinal plants of the lungs of our planet - the Amazon - as well as of the language, history and ethnic-Amazon culture are the Shipibo Conibo Xetebo community. And as well as other indigenous communities of the Amazon, they continue to be in difficulties, not only due global warming, due institutional indifference towards minorities; but more urgently due COVID-19.
Shipibo medicinal leaders practice healing through sound and chants called ÎCAROS, and we believe this can be a point of inspiration for electronic music. That's why the name of the compilation, which in Shipibo Conibo means Behuá - singing, and Icára - to heal, which we can interpret as rhythms to heal.
We are especially grateful to the Shipibo Conibo Xetebo community, by trusting this project through Olinda Silvano, Lastenia Canayo, Ronald Suarez, Wihtner FaGo, MC Shipibo who shared his acapella for "Non Nete"; to Wihtner's father, Pexe Nima master of tobacco, for sharing his sacred song for "Moleküle", to Rawa for giving his icaro for "Quincemil".
We thank all the artists for sharing their work, even more knowing that these are also difficult times for them. Please visit their Bandcamp page, buy their music, follow them on Soundcloud, social networks, everything helps! more

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