Eiichi Ohtaki
Go! Go! Niagara

Jiro Inagaki ran through his time as a standard-bearer of jazz-rock.He leads the soul media and leaves many works, but the one that gains cult popularity as a unique work is this work “Dosojin” recorded in 1972.The folk songs reconstructed with bold and detailed arrangements are lustrous and fantastic. The exuding nostalgia and psychedelic sound invites the listener to a different world.Jazz, rock, and folk songs were fused at a high level to create unparalleled “Japanese music”. Yasushi Sawada, who is known for “The city is the port of the wind”, is appointed as the vocalist in the whole story.Arranged by Toshiyuki Miyama and Yasuhiro Koyama, who worked on the new hardware “Sound of the Earth”.

'Why does my mind circle around you? Why do planets wonder what it would be like to be you?' This time Vakula explores the universe of the man who was searching for a world where there were women and children obeying the moon but faced the reality with its wisdom, and fever, and sickness. And faced it too soon. 'The music and voices are all around us. Choose, the croon, the Ancient Ones. The time has come again'. The album is Vakula's thoughts in time and out of season dedicated to Morrison, the poet, the musician, the soft mad child, the great man. 'Enter again the sweet forest, enter the hot dream, come with us. Everything is broken up and dances'.

Angular, jabbing, psychedelic post-industrial/post-punk from early ‘80s Holland, drawn from hard-to-find and obscure tapes releases by Emotional Rescue and Mannequin Records​"Taken from two 12” EPs, a split 7” and a flexi 7”, all released in 1982, the music within Word & Numbers captures striking compositions, part of, but some way removed from their contemporary post-punk bands coming out of the Dutch “Ultra” scene of the time.Developing out of a series of concerts in Amsterdam, Ultra expanded to Eindhoven, Nijmegen and Haarlem, with artists and musicians creating their own work spaces and studios. Driven by the DIY mentality of the punk movement, this uniquely Dutch take on the post-punk ethos embraced avant-garde thinking and experimentation that disseminated in ideas and from that, sound.Coming from Haarlem, Nexda – consisting of Ivo Schalkx, Karin Hueting, Martienden Nijs – played music on handmade drums, metal, organ, saxophone and voice. Releasing a series of cassettes on their and Wim Dekker (Smalts, Minny Pops) Studio 12 label, the latter’s link with Wally Van Middendorp’s Plurex label, resulted in the release of Nexda’s two EP – 246, 121 and 657 (PLUREX 0026) and Second (PLUREX 0031) - with artwork of Ivo Schalkx, are included here, both in their entirety. Capturing the bands’ heavy percussive backdrop, raw, dub baselines contrast with questioning, mainly spoken word lyrical poetics, saxophone underplay and occasional Pablo-style melodica. The avant nature of the music is apparent and enticing, where experimentalism and artistic expression was sought over commercial success and technique and song form were less important than the process of exploring ideas.The none-descriptive titles match song structures that jettison the traditional verse, chorus, verse; weaving across the 8 songs so that they can be heard as one, as much asshort bursts of individual statements."