{"title":"Label: Time Capsule","description":null,"products":[{"product_id":"oasis","title":"Oasis","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/520381623\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"450\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eTime Capsule is a reissue label that unites the record collectors and DJs of the brilliant corners and Beauty \u0026amp; The Beat communities in London. For each release, Kay Suzuki works alongside one co-curator to reinstate and repackage the music they hold dear into perfectly restored historic artifacts.\u003c\/p\u003e\n\u003cp\u003eFor the first release, brilliant corners regular and Meda Fury signing Ryota \u003cspan class=\"caps\"\u003eOPP\u003c\/span\u003e curates the reissue of Il Guardiano Del Faro’s 1978 album Oasis.\u003c\/p\u003e\n\u003cp\u003eBorn 1940 in Milan, Federico Monti Arduini was a child prodigy who studied piano and was already performing at concerts from the age of eight. He composed pop songs for other artists which sold millions of copies, but his own solo success came after he encountered synthesizers in the early 70s.\u003c\/p\u003e\n\u003cp\u003eViewed as a precursor of New Age sound art, Arduini was one of the first producers in Italy to use the Moog synthesizer and a meeting with Bob Moog in New York only added to this obsession. He was also an early adopter of the tradition among electronic producers to use a moniker to disguise his identity. Il Guardiano Del Faro (translated as “the guardian of lighthouse”) is a nod to the small Italian fishing town Porto Santo Stefano, where Arduini created his studio in the mid-70s.\u003c\/p\u003e\n\u003cp\u003eHe produced a number of albums from this seaside idyl of electronic instruments and tape recorders, but Oasis stands out from the pack. Released in 1978, it became a cult classic for its experimental sounds and emotional expressions. Spiritual synth sounds cover the album in a dreamy haze, oscillating between ambient and psychedelic. Sparing deployment of the Roland rhythm box gives dance floor favourites ‘Disco Divina’ and ‘Oasis’ touches of space disco and even teases proto-house elements like the great Sun Palace.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on heavy 180gm vinyl\u003c\/li\u003e\n\u003cli\u003eOriginal restored artwork with gatefold sleeve\u003c\/li\u003e\n\u003cli\u003eLiner notes and pictures on inner sleeve\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eRemastered by Tim Young, Metropolis Studios (Grammy Award Winner mastering engineer)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TIME001[[Artist]]Il Guardiano Del Faro\u003c\/p\u003e","brand":"Time Capsule","offers":[{"title":"Oasis \/ Vinyl \/ LP Black","offer_id":43959654154485,"sku":"TIME001","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/826853966610.jpg?v=1749584011"},{"product_id":"shravanam","title":"Shravanam","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eTime Capsule presents the transcendental work of intensely spiritual Indian classical music by celebrated vocalist and composer Bombay S Jayashri.\u003c\/p\u003e\n\u003cp\u003eDuring its brief lifespan reissue imprint Time-Capsule’s releases have proved as multinational as they have been wide-ranging in style, serving up Italian new age music (Il Guardiano Del Faro’s Oasis), Japanese guitar fusion (Yuji Toriyama’s Choice Works 1982-1985), and American dub by way of Ethiopia (Bill Laswell and Gigi’s Illuminated Audio).\u003c\/p\u003e\n\u003cp\u003eFor their fourth ever reissue Time Capsule selected one of classical Indian vocalist Bombay S Jayashri’s most mesmerising works. Born into a musician family steeped in the south Indian tradition of vocal music, the Mumbai-raised singer took advantage of the city’s cosmopolitism to study northern Hindustani disciplines, one of the few vocalists to train in both. Now revered as one of the greatest living exponents of Carnatic music, she received an Oscar nomination for her work on Ang Lee’s Life of Pi.\u003c\/p\u003e\n\u003cp\u003eWithin the first minute of opener Sada Bada (Slokam), Jayashri’s intensely spiritual vocals give a clear indication of why she has been increasingly embraced by a new generation of western listeners who’ve made the natural leap from ambient soundscapes to new age and devotional music. Accompanied on the following Bhajeham Bhajeham by a hypnotic rhythmic backing of mridangam drums, bells and the drone of a tambura, over its epic twenty-minute length she stretches her voice into a variety of spellbinding forms – her softly enunciated dedications to Shiva enveloping you with their immersive warmth and cosmic beauty. Kalimaheshwari’s gently undulating rhythms form a similarly entrancing undercurrent, over which Javashri delivers a jaw-dropping performance of melodic Sanskrit chants which evoke a variety of different names for the sacred feminine.\u003c\/p\u003e\n\u003cp\u003eOne of the album’s new-found devotees is label boss Kay Suzuki: “every time I listen I’m amazed at how such a small ensemble can create such a deep musical landscape. The incredible production plays a big part. That intricate percussion sounds so clear and sits in all the right pockets rhythmically and sonically. Just by following this groove I’m put into a timeless zone, but when her voice hits on top of that gorgeous drone sound and I focus on the details of her small melodies within melodies, my heart centres and I find myself in a blissful place.”\u003c\/p\u003e\n\u003cp\u003eAs professor of cultural and political theory Jeremy Gilbert states in the album’s liner notes, the mesmerising sincerity and deep spirituality of these songs present an intense and spiritual charge that will appeal to an audience well beyond believers and devotees of Hinduism.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eReverse cut vinyl (plays from inner groove to outer groove)\u003c\/li\u003e\n\u003cli\u003eComes with hype sticker\u003c\/li\u003e\n\u003cli\u003e180g Heavy vinyl\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLiner Notes: Jeremy Gilbert (University of East London)\u003c\/li\u003e\n\u003cli\u003eRemastered: Claudio Passavanti at Doctor Mix Studios\u003c\/li\u003e\n\u003cli\u003eCurator: Kay Suzuki\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TIME004[[Artist]]Bombay S Jayashri\u003c\/p\u003e","brand":"Time Capsule","offers":[{"title":"Shravanam \/ Vinyl \/ LP Black Reverse","offer_id":45318620872949,"sku":"TIME004R","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Shravanam \/ Vinyl \/ LP Black","offer_id":43959691247861,"sku":"TIME004","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/748322322171_19596630-647f-4ed2-8ddb-dea52cef1054.jpg?v=1750069731"},{"product_id":"a-cosmic-poet-from-martinique-1979-1989","title":"A Cosmic Poet from Martinique (1979-1989)","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eFor Midonet, pushing musical boundaries was less a choice than an extension of his spirit. A self-taught guitarist and composer, drawing on his childhood memories of bélé and beguine rhythms, Midonet’s musical life developed in parallel to his academic and spiritual pursuits. Studying philosophy and psychopedagogy in France, it was his fascination with pan-Africanism and animism which fuelled the transcendent energy of his music.\u003c\/p\u003e\n\u003cp\u003eAlthough Midonet honed his sound in France, the four albums he released during the late ‘70s and ‘80s were heavily inspired by diasporic nostalgia, or what he describes as the “smells and colours… subliminal noises… fruity notes, the memories of funeral wakes, the bombastic organ of the cathedral and the gasps of the drums” of his childhood home on the Caribbean island of Martinique.\u003c\/p\u003e\n\u003cp\u003eFittingly, it’s there that Midonet achieved cult status for the title track of his 1979 debut, Van An Lévè, which became a protest anthem for the island’s independence movement, and was briefly censored by the French authorities. Look no further than ‘Mari Rhont Ouve La Pot’, which opens this collection, to hear the propulsive mix of cosmic synths, acoustic folk, and Creole lyricism that became the essence of Midonet’s sound.\u003c\/p\u003e\n\u003cp\u003eReleased on Martinique label Touloulou, Van An Lévè was followed in 1980 by L’inité, whose tropical acid folk (‘M’en ka Monté Mon’) and majestic, violin-led melodies (‘Kannaval Sakré Pou Tout Z’Heb Poussé’) confirmed Midonet’s unique and intuitive approach to composition.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003e45rpm audiophile cut\u003c\/li\u003e\n\u003cli\u003e180g double heavy vinyl with 4 pages liner notes\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TC009[[Artist]]Gratien Midonet\u003c\/p\u003e","brand":"Time Capsule","offers":[{"title":"A Cosmic Poet from Martinique (1979-1989) \/ Vinyl \/ LP Black","offer_id":43959761436917,"sku":"TC009","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/650245426075.jpg?v=1750069758"},{"product_id":"a-cosmic-poet-revisited","title":"A Cosmic Poet Revisited","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThe music of Martinique poet and composer Gratien Midonet is being treated to a special three-track remix EP, A Cosmic Poet Revisited, providing a new context for the political activism and cosmic folk sound of the original recordings.\u003c\/p\u003e\n\u003cp\u003eA musician informed by his academic and spiritual pursuits, who penned albums in France that became cult anthems for the independence movement in his native Martinique, Midonet developed a unique sonic language that combined bélé and beguine rhythms, acoustic mysticism, Creole lyrics and electronic instrumentation.\u003c\/p\u003e\n\u003cp\u003eReleasing four albums across a ten-year period between 1979 and 1989, Midonet’s catalogue has been revisited for the first time on Time Capsule compilation, A Cosmic Poet from Martinique (TC009\/TIME009).\u003c\/p\u003e\n\u003cp\u003eWith the label also reissuing all four original albums digitally over a number of months, this extensive retrospective of Midonet’s career is joined by an EP featuring three new interpretations from a trio of like-minded sonic disciples from across the globe.\u003c\/p\u003e\n\u003cp\u003eOn the A-Side, Sapporo-based producer and sound designer Kuniyuki Takahashi tugs at the spiritual threads of Midonet’s ‘Osana’ to unravel the sun-soaked funk devotional into an 11-minute deep house odyssey. Up next, London-based Time Capsule boss Kay Suzuki’s soft touch rework of ‘Roulo’ emphasises the organic syncopation of Midonet’s original to craft a tantalising slow-burner that ebbs and flows with a natural ease. Closing out proceedings, Romanian duo Khidja provide an acid-tinged adaptation of ‘La Reine’, the final track of the Time Capsule compilation. A minimalist affair which nods towards kosmische musik in its forward motion, Khidja bring the loose drums and elastic synth lines to the front on what is a fttiingly euphoric climax to the EP.\u003c\/p\u003e\n\u003cp\u003eSpeaking to compilation curator Cedric Lassonde, Midonet stressed the spiritual necessity of his music in approaching “the transcendental worlds whose door remains closed for most humans”. In curating a remix project that seeks not to exaggerate the intention of the originals but to compliment them, Time Capsule has succeeded in lifting Gratien Midonet’s message of mystical togetherness into new realms.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eA special three-track remix EP\u003c\/li\u003e\n\u003cli\u003eA new context for the political activism and cosmic folk sound of the original recordings\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TC011[[Artist]]Gratien Midonet\u003c\/p\u003e","brand":"Time Capsule","offers":[{"title":"A Cosmic Poet Revisited \/ Vinyl \/ 12” Black","offer_id":43959789814005,"sku":"TC011","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/650245437064.jpg?v=1750069773"},{"product_id":"tokyo-riddim-1976-1985","title":"Tokyo Riddim 1976-1985","description":"[[Release Detail]][[Release Description]]\u003cp\u003eDub, Lovers Rock … A selection of ’70s and ’80s prime-time Japanese reggae pop! Featuring original artwork by Japanese Fukuoka-based artist Noncheleee, whose cover pays homage to the iconic dancehall album art of Wilfred Limonious.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eMastered by Andy Baldwin at Metropolis Studios, London, UK\u003c\/li\u003e\n\t\u003cli\u003eArtwork by Noncheleee\u003c\/li\u003e\n\t\u003cli\u003eCompiled by Kay Suzuki \u0026amp; Pol Valls\u003c\/li\u003e\n\t\u003cli\u003eLiner notes by Anton Spice \u0026amp; Kay Suzuki\u003c\/li\u003e\n\t\u003cli\u003eCoordinated by Ken Hidaka \u0026amp; Kay Suzuki\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]TIME016[[Artist]]Various Artists","brand":"Time Capsule","offers":[{"title":"Tokyo Riddim 1976-1985 \/ Vinyl \/ LP Black","offer_id":44136579137781,"sku":"TIME016","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/650245401959.png?v=1736271173"},{"product_id":"heavy-way","title":"Heavy Way","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eA long-lost Japanese acid folk gem, Niningashi’s 1974 private press debut Heavy Way shimmers with originality, deft song writing and a dream-like groove.\u003c\/p\u003e\n\u003cp\u003eAlthough he was training as a pharmacist, Kazuhisa Okubo was much more interested in prescribing musical medicine.\u003c\/p\u003e\n\u003cp\u003eA coming-of-age album, Heavy Way captured a turning point in Okubo’s life, and Japanese society more widely as a nostalgia for the pastoral calm of the traditional life, met the cosmopolitan thrill of coffee, sex and cigarettes in the big city.\u003c\/p\u003e\n\u003cp\u003eIntoxicated by Tokyo, driven by a passion for music and surrounded by a thriving acid folk scene, the young student filtered his experiences through a psychedelic cocktail of soulful influences from the US and Japan.\u003c\/p\u003e\n\u003cp\u003eNiningashi was his first band, and Heavy Way was their only album. It was honest and raw, deep and strangely funky, in an off-beat kind of way. Across nine tracks, Okubo and the 6-piece band put their own spin on the new folk sound of Japan, combining witty lyrics with electric guitar-driven solos and crisp, understated grooves.\u003c\/p\u003e\n\u003cp\u003eMelancholy and profound, opening track ‘Ameagari’ feels like a synthesis of Harvest-era Neil Young and Haruomi Hosono’s Happy End. Then there’s the whimsical washboard country sound of ‘Semai Boku No Heyade’; the moody, low-lit charm of ‘Restaurant’; and ‘Hitoribotchi’, a sensitive portrayal of childhood, steeped in memories of rainfall that will resonate with fans of Woo and Mac Demarco.\u003c\/p\u003e\n\u003cp\u003eWhile Okubo would go on to taste success with psychedelic folk bands Neko and Kaze, the latter of which scored three #1 albums, little is known about his mysterious debut with Niningashi.\u003c\/p\u003e\n\u003cp\u003eSelf-released by Okubo in 1974, and featuring album artwork by his brother, it has slowly generated a cult following online, intrigued by its soft and enchanting sound. So few records were ultimately pressed that those remaining have fetched up to £1,500 online.\u003c\/p\u003e\n\u003cp\u003eFeatured on Time Capsule’s era-spanning collection Nippon Acid Folk, Niningashi’s Heavy Way is a deep-cut grail of a vibrant time in Japan’s musical history, where even the pharmacists were making jams.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eA long-lost Japanese acid folk gem\u003c\/li\u003e\n\u003cli\u003eNiningashi’s 1974 private press debut Heavy Way\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TIME019[[Artist]]Niningashi\u003c\/p\u003e","brand":"Time Capsule","offers":[{"title":"Heavy Way \/ Vinyl \/ LP Black","offer_id":44859163541749,"sku":"TIME019","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/748322322102.jpg?v=1750069858"},{"product_id":"tokyo-riddim-vol-2-1979-1986","title":"Tokyo Riddim Vol.2 1979-1986","description":"\u003cp\u003e[[Release Detail]][[Release Description]] \u003c\/p\u003e\n\u003cp\u003eDiving deeper into the story of Japanese reggae pop, Tokyo Riddim Vol. 2 explores an electronic, new wave and often experimental sound unlike anything Japan or Jamaica had ever heard before.\u003c\/p\u003e\n\u003cp\u003eThe first time Ryuichi Sakamoto left Japan, he did not go to the United States or Europe - he went to Jamaica. It was 1978, YMO were about to release their debut album, but Sakamoto was in Kingston, invited to play synths for Japanese idol singer Teresa Noda at Dynamic Sound Studios in a band alongside Neville Hinds and none other than Rita Marley. It’s not a story many know, but one which would spark Sakamoto’s fascination with dub and mark a new chapter in the ongoing Japanese love affair with reggae.\u003c\/p\u003e\n\u003cp\u003eThe Teresa Noda tracks they cut - ‘Tropical Love’ and ‘Yellow Moon’ - bookend this second volume of Time Capsule’s Tokyo Riddim compilation, which tells the wider story of how a fascination with Jamrock swept Japan, adding a dash of lime to that sweet city pop sound, embracing a globalised musical palette and creating a whole new genre in the process.\u003c\/p\u003e\n\u003cp\u003eFor some, like Sakamoto, a diversion into reggae was part of broader fascination with new sounds and styles, tipped into the global disco of homage and appropriation that made Japanese music of the late ‘70s and early ‘80s some of the most creative and undefinable in the world.\u003c\/p\u003e\n\u003cp\u003eYou had iconic shape-shifter Yosui Inoue, who toyed with reggae, afro-beat and electro-Balearic, (and whose For Life Records released several tracks on this comp), and Kay Ishiguro, who enlisted J-reggae originator Pecker on the ambitious Stevie Wonder-esque ‘Red Drip’.\u003c\/p\u003e\n\u003cp\u003eThen there were the Compass Point devotees - producers and musicians alike who were enthralled by the sound of the Bahamas studio and drew on the detached cool of Grace Jones - as heard in the music of Juicy Fruits, and the disco noir of Casablanca-signed femme fatale Yuki Nakayamate. Sometimes, as was the case with Risa Minami, the J-reggae influence said more about Japan than it did about Jamaica.\u003c\/p\u003e\n\u003cp\u003eBut where Tokyo Riddim Vol. 1 focused on the city pop sound, this compilation goes further, digging out the more experimental collaborations and hybrids exemplified by Tomoko Aran, who in working with Yusuaki Shimizu and Mariah emphasized just how far reggae had traveled to be recast into something entirely new on the other side of the world.\u003c\/p\u003e\n\u003cp\u003ePerhaps more than anything, in connecting the dots between Tokyo and Kingston, between Jamaica and Japan, the Japanese reggae was building a musical language that existed outside of the paradigms of US and European cultural hegemony - an encounter shaped by commerce, capital, and creativity that is now being recognized more broadly for the first time.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eSecond volume featuring a collection of Japanese Reggae Pop \u003c\/li\u003e\n\u003cli\u003eLiner notes by Anton Spice, Kay Suzuki \u0026amp; Ayana Honma\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TIME021 [Artist]]Various Artists\u003c\/p\u003e","brand":"Time Capsule","offers":[{"title":"Tokyo Riddim Vol.2 1979-1986 \/ Album \/ LP Black","offer_id":45905680892149,"sku":"TIME021","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/748322322256.jpg?v=1736271189"},{"product_id":"choice-remixes-2008-2022","title":"Choice Remixes 2008-2022","description":"[[Release Detail]][[Release Description]] \n\n\u003cp\u003eFlipping rhythms from Guadeloupe, Cuba, Senegal and Puerto Rico, Time Capsule founder Kay Suzuki releases an acid-soaked collection of remixes that transcends time and space.\u003c\/p\u003e\n\n\u003cp\u003eFrom the blacked-out basement of Plastic People to the psychedelic dancefloor of Beauty and the Beat, Kay Suzuki’s musical world has been shaped by some of London’s most iconic sound systems. High quality audio, he says, can open portals to new universes. Rhythm is time made plastic and beauty is the space between the beats.\u003c\/p\u003e\n\n\u003cp\u003eSpanning over fifteen years of music from the prolific DJ, producer, Time Capsule label boss and one time Brilliant Corners sushi chef, this collection of remixes is the logical conclusion of Kay Suzuki’s musical thinking. Drawn to unique percussive or syncopated rhythms, he describes remixes as conversations between the original artist’s sense of time and his own. Weaving broken beat, house and dub influences into rhythms from across the Black Atlantic, these four tracks find each other kinship on the dancefloor.\u003c\/p\u003e\n\n\u003cp\u003eThe A-side begins with a dubbed-out rework of the Gwoka celebration rhythm ‘A Ka Titine’ by Guadeloupe’s Gaoulé Mizik that was originally released by Beauty and the Beat in 2022. Layering electronic flares, dub sirens and space echo reverb across the shuffling toumblak beat, Suzuki leans into the track’s creole heritage, turning the track into a sought-after dancefloor jam, played by everyone from Colleen Cosmo Murphy and John Gomez to Yu-Su and Bradley Zero.\u003c\/p\u003e\n\n\u003cp\u003eSkipping to Puerto Rico, Broki’s ‘Es Que Lo Es’ emerged from a collaboration between Bugz in the Attic’s Afronaut and Seiji and local musicians. Here Suzuki reworks the Afro-Latin percussion into a subtle bruk, conjuring a third space between London and San Juan that remains both of and outside the era in which it was made.\u003c\/p\u003e\n\n\u003cp\u003eBlackbush Orchestra’s ‘Sortez, Les Filles!’ opens the B-side, taking apart the original and kneading the Senegalese percussion into a chugging Balearic house track, buoyant and full of life. Also first released by Beauty and the Beat, the track features new synth and structural elements that bring out the innate dancefloor potential beneath the surface of the original.\u003c\/p\u003e\n\n\u003cp\u003eThe final track on the collection heads back to the Caribbean and the island of Cuba, where Sunlightsquare a.k.a. Claudio Passavanti worked with vocalist Rene Alvarez and expert in Afro-Cuban percussion, Giovanni Imparato, on ‘Oyelo’. Here, Suzuki strips out the kick completely, leaving an implied rhythm which he calls an “imaginary four-to-the-floor” - a groove that is felt rather than heard, leaving the listener floating in another universe entirely.\u003c\/p\u003e\n\n\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eCollection of remixes from Time Capsule founder Kay Suzuki\u003c\/li\u003e\n  \u003cli\u003eVinyl LP with 2 page insert\u003c\/li\u003e\n\u003cli\u003eRemastered by Mike Hillier at Metropolis Studios\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\n[[Catalog Number]]TIME022[Artist]]Kay Suzuki \/ Various Artists","brand":"Time Capsule","offers":[{"title":"Choice Remixes 2008-2022 \/ Album \/ LP Black","offer_id":46072576704757,"sku":"TIME022","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/748322322270.jpg?v=1731974242"},{"product_id":"studio-works-83-85","title":"Studio Works '83-'85","description":"[[Release Detail]][[Release Description]] \n\n\u003cp\u003eSo-Do’s dubby post-punk sound painted the idealism and disillusionment of early ‘80s bubble-era Japan in heavy-grooving funk and ice-cold style.\u003c\/p\u003e\n\n\u003cp\u003eThe story of So-Do is both familiar and completely unique. A classically trained multi-instrumentalist with a poet’s sensibility and a passion for folk music meets a worldly bar owner with a love for psychedelia, post-punk and dub in the small town neither could bring themselves to leave. Over two years, they play dozens of shows in independent live houses across Japan, cut and self-release three singles – two 7”s and a 12” – and leave behind just eight tracks, all of which are set to be reissued for the first time forty years on.\u003c\/p\u003e\n\n\u003cp\u003eSo-Do’s Studio Works ’83-’85 collects the full output of this iconoclastic post-punk phenomenon, whose sparse, syncopated arrangements were infused with a dubbed-out flair that owed more to Dennis Bovell’s productions of Orange Juice, the Jah Wobble basslines of Public Image Limited or Adrian Sherwood’s live dubs of Mark Stewart than even they knew at the time.\u003c\/p\u003e\n\n\u003cp\u003eBecause for lead songwriter Hideshi Akuta, music offered an escape from the existential malaise of small-town life, folding a melancholy nihilism into tracks like ‘Kakashi’ and ‘Hashiru’ (which translates as ‘run’), or taking aim at the inequalities and creeping apathies of the middle classes, as he does on ‘Get Away’ and ‘Nothing’.\u003c\/p\u003e\n\n\u003cp\u003eAnd if Talking Heads had CBGBs, Sex Pistols had the Roxy, then So-Do had Buddha. Influenced by Buddha venue owner and amateur producer Atsuo Takeuchi, Akuta turned So-Do’s sound towards dub, crafting playful, ironic and funky compositions that crackle with live energy at the vanguard of Japan’s nascent independent music scene.“So-Do is hard to explain,” Takeuchi says. “It’s been a struggle for years to try to find the words for our music.” The answer perhaps, is just to listen.\u003c\/p\u003e\n\n\u003cp\u003eBoth familiar and completely unique, So-Do extend Time Capsule’s genre-defining exposition of Japan’s reggae-inspired music of the ‘70s and ‘80s, as collected on the label’s two critically acclaimed Tokyo Riddim compilations, and London-based live outfit Tokyo Riddim Band.\u003c\/p\u003e\n\n\u003cp\u003eEmbracing the rip-it-up-and-start-again ethos of the early ‘80s, So-Do burned bright for a short time and then burned out. Their legacy is about to be reignited. Expect it to catch alight once more.\u003c\/p\u003e\n\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eAll songs written \u0026amp; composed by Hideshi Akuta\u003c\/li\u003e\n\u003cli\u003eCurated by Kay Suzuki\u003c\/li\u003e\n\u003cli\u003eArtwork by Ben Arfur and Liner Notes by Anton Spice, Ayana Honma, Kay Suzuki\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\n[[Catalog Number]]TIME023[[Artist]]So-Do","brand":"Time Capsule","offers":[{"title":"Studio Works '83-'85 \/ Album \/ LP Black","offer_id":46288441344245,"sku":"TIME023","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/748322322294.jpg?v=1736989095"},{"product_id":"tv-anime-manga-new-age-soundtracks-1984-1993","title":"TV, Anime \u0026 Manga New Age Soundtracks 1984-1993","description":"[[Release Detail]][[Release Description]]\n\n\u003cp\u003eThe percussive new age soundtracks of '80s and early '90s Japanese TV, anime and manga built alternative worlds and pushed boundaries in the process.\nWhen Japanese composer Yas-Kaz left Tokyo for Bali in the mid 1970s he had little idea of how influential his trip would become. In studying the storied art of gamelan, the jazz and avant-garde percussionist opened a door to a world of sound and rhythm left behind by the West. The music he and his contemporaries made would become known as new age. It also happened to soundtrack the golden era of anime.\u003c\/p\u003e\n\n\u003cp\u003eAwash with money and with the prerogative to entertain the burgeoning middle classes, anime in the 1980s experienced a creative and commercial boom. Not constricted by generic expectations, production houses such as the now renowned Studio Ghibli were able to experiment liberally with both form and content. And with it came the space for composers to be similarly adventurous.\u003c\/p\u003e\n\n\u003cp\u003eTV, Anime \u0026amp; Manga New Age Soundtracks 1984-1993 charts this moment across eight tracks spanning classics of the genre and previously unknown rarities. The collection brings together music that found kinship in electronic and acoustic instrumentation, often combining spiritual or environmental themes with percussive, varied and highly refined syncopations of non-Western musical traditions.\u003c\/p\u003e\n\n\u003cp\u003eAmong them is ‘Kaneda’ by Geinoh Yamashirogumi, the shape-shifting group of self-styled musicians, anthropologists and computer scientists that masterminded the soundtrack to game-changing dystopian anime Akira - and with whom the sound, tuning and breakneck speed of Balinese gamelan has become indelibly entwined.\u003c\/p\u003e\n\n\u003cp\u003eReflecting the desires of the era to reach beyond Japan’s borders, many of the soundtracks featured were commissioned for narratives set in distant lands or alternative worlds. There’s violinist and composer Norihiro Tsuru’s ‘Farsighted Person’, written for The Heroic Legend of Arslān, set in ancient Persia; Yas-Kaz’s own ‘Hei (Theme of Shikioni)’, for period sci-fi manga \u0026amp; anime series Peacock King - Spirit Warrior; and two tracks - Tassili N’Ajjer and Fiesta Del Fuego - from Yoichiro Yoshikawa’s soundtrack to NHK’s proto-Planet Earth series The Miracle Planet.\u003c\/p\u003e\n\n\u003cp\u003eSuch was the variety and quality of the music produced, if there is a guiding principle to the tracks collected here it is a sense of escapism and adventure that came with the confluence of modern electronic instruments and a fascination with percussive traditions.\u003c\/p\u003e\n\n\u003cp\u003eElsewhere, pioneering children’s TV composer Chumei Watanabe’s ‘Fushigi Song’ (performed by a vocal group Korogi ‘72) offers a trippy and infectious groove with sonic similarities to Don Cherry’s ‘Brown Rice’; little-known jazz-funk library group Columbia Orchestra showcase the best of Tokyo’s session musicians on ‘Hearts Beats - Theme for Andrew Glasgow’; before lawyer-turned-composer Kan Ogasawara closes out the compilation with a dramatic flourish on ‘Gishin Anki’.\u003c\/p\u003e\n\n\u003cp\u003eFollowing on from Time Capsule’s acclaimed deep-dive into the world of manga \u0026amp; anime synth-pop in 2022, this vinyl only collection is set to broaden and diversify an understanding of how soundtracks shaped the sound of new age music in Japan for a generation.\u003c\/p\u003e\n\n\n[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eLP vinyl only release + 4 page liner notes\u003c\/li\u003e\n\u003cli\u003eFeaturing eight tracks spanning classics of the genre and previously unknown rarities\u003c\/li\u003e\n\u003cli\u003eFeatures ‘Kaneda’ by Geinoh Yamashirogumi\u003c\/li\u003e\n\u003c\/ul\u003e\n\n[[Catalog Number]]TIME015V[[Artist]]Various Artists","brand":"Time Capsule","offers":[{"title":"TV, Anime \u0026 Manga New Age Soundtracks 1984-1993 \/ Album \/ LP Black","offer_id":46439066665205,"sku":"TIME015","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/650245521923.jpg?v=1740520893"}],"url":"https:\/\/lightintheattic.net\/collections\/time-capsule\/b2b.oembed","provider":"Light in the Attic","version":"1.0","type":"link"}