When We Die (Can We Still Get High?) (feat Lil Yachty) (5:05)
When We Die (Can We Still Get High?) (acoustic) (4:29)
Review: YUNGBLUD's hook-up with Lil Yachty is renowned amongst fans for its trippy production and tight, evocative, mind-melting bars. It has never before been on vinyl but this year's Record Store Day rights that wrong while serving it up with a superb, exclusive, introspective in-studio acoustic performance of the track. 'When We Die (Can We Still Get High?)' was first released on January 26, 2024 by Locomotion Recordings and Geffen Records and is a new school mix of alternative rock, psychedelia and hip-hop that explores themes of mortality and escapism with production by YUNGBLUD plus Matt Schwartz and Paul Meany. It's an introspective gem.
Review: Having previously issued Akiko Yano's 1976 debut "Japanese Girl" - an eccentric set of East-West pop fusions marked out by the artist's distinctive vocals - Wewantsounds has returned to raid her vaults once more. "Iroha Ni Konpeitou" first appeared in 1977 and garnered great hype in Japan thanks to the success of its predecessor. It's a similarly eccentric but inspired set, with Yano confidently flitting between synthesizer-heavy instrumental soundscapes (see superb opener "Kawaji"), drowsy country-inspired songs ("A Long Wait"), seductive jazz-funk ("Hourou"), head-nodding reggae-boogie ("Hai Hai Gasa") and breathy, post-soul ballads ("On The Way Home", a song that boasts both pedal steel and synthesizers).
Review: The 2019, full-length, 11-track album by Years Of Denial is said to have been written and produced in a country house once surrounded only by vast, empty landscapes and an endless sky. Despite the isolation feeding its making, the debut album Suicide Disco is still an inescapable somatic provocation; it's not where you are, but who you are inside. The duo of Jerome Tcherneyan and Barkosina Hanusova now hear their debut album for Veyl reissued here, not long after a second noose in the form of Suicide Disco Vol. 2 was heard strung up a in 2023. Suicide Disco was a comparatively greyscale exercise in delay and decay, the likes of 'The Pain I Meditate' and 'Contradiction' making for manic dust-clouds of post-industrial fallout; sonic , Industrial Revolutory sequelae, topped off by an expressionist vocal narrative from Hanusova.
Review: Music On Vinyl are our new best friends. With a wide range of music being reissued as of late, Yello's 1987 One Second is just spoiling us. Never being fully acclaimed when it was originally released, this is one album which really spans the full circle in terms of artistic ideas sonic experimentations. While being tagged primarily as a pop work, it's really more of a lesson in synth manipulations and nutty beat-making. "The Rhythm Divine" has to be out top track but do check the whole thing, it's magnificent...
Review: The US' Music On Vinyl always provides the quality reissues, and best of all, they do it quietly, leaving the diggers and owners of the original copies still relatively chuffed with their treasures. As such, it's the Yellow Magic Orchestra that receives the reissue treatment this time, a Japanese electro-pop outfit formed in 1979, and which includes the great Haruomi Hosono on bass - producer of the timeless and mind-bending "Hosono House". Solid State Survivor was the band's second album, and although it was released before the start of the '80s, it already contains remnants of electronic dance music as we know it today. The glassy opener is called "Technopolis", for example, and the majestic synth twists of "Rydeen" are a pleasure to our ears even today. There are slower, more magical moments such as "Castalia", but the winner for us is probably "Insomnia", a great piece of drunken drum machine drums and wonky melodies. An absolute must, even for the non-Japanese heads.
Review: The tide of (hyper)pop has ebbed into increasingly emo and indie directions and the frothiest edge of this fluid movement is perhaps best represented by the latest album from Yeule (Nat Cmiel). Softscars follows up Yeule's 2022 album Glitch Princess and continues the trend of ultra-glossy, CD-reflective, knife-edge sounds packed into the blueprint of downtempo dream pop, in which said gloss reflects Cmiel's own personal experience of healing from trauma. The likes of 'ghost', 'dazies' and 'sulky baby' are giving glitchy alternate-reality Green Day in their Boulevard Of Broken Dreams era, with a dash of ejector-jewel-cased lyrics and a sprinkling of George Clinton-esque production flavour.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
The tide of (hyper)pop has ebbed into increasingly emo and indie directions and the frothiest edge of this fluid movement is perhaps best represented by the latest album from Yeule (Nat Cmiel). Softscars follows up Yeule's 2022 album Glitch Princess and continues the trend of ultra-glossy, CD-reflective, knife-edge sounds packed into the blueprint of downtempo dream pop, in which said gloss reflects Cmiel's own personal experience of healing from trauma. The likes of 'ghost', 'dazies' and 'sulky baby' are giving glitchy alternate-reality Green Day in their Boulevard Of Broken Dreams era, with a dash of ejector-jewel-cased lyrics and a sprinkling of George Clinton-esque production flavour.
Review: Yomm's upcoming EP showcases a unique blend of City-Pop with diverse influences, solidifying her as a standout figure in the contemporary music scene. This six-track collection includes the pre-release singles 'Hatsukoi,' 'Alice,' 'Miraco feat. Layone,' and 'Saratto Patto Pitto,' alongside two new tracks: 'Hon de Yomitake,' penned and arranged by Kiseru's Gobun Tsujimura, and 'Scramble - Tokyo,' written and composed by yomm herself. A new project by Korean singer-songwriter and model Choi Jung-yoon, Yomm has quickly gained attention since its launch in April, with contributions from notable artists like Shota Araya (formerly of yonawo), Motoi Kawabe (Mitsume) and Jin Ono. The EP showcases yomm's ability to blend City-Pop with modern elements, creating a sound that feels both nostalgic and innovative. With its eclectic mix of styles and top-tier collaborations, this EP is set to be a refreshing addition to the evolving City-Pop genre.
Review: It's not easy trying to pin down Yoshi, the Italian producer. Info is thin on the ground but we do know that parts of A Sunny Place for Shady People are clearly inspired, at least in part, by the legendary Ryuichi Sakamoto and other Japanese digital pop moguls, A Sunny Place is as exploratory and avant garde as it is universal, and steeped in a kind of authenticity that means it could quite possibly have been made at any point since the mid-1980s. A noteworthy achievement and a fantastic, instantly replay-able album.
Review: Yuna's self-titled debut album came with three tracks produced by none other than Pharrell Williams. That was a decade ago when she was just 24 years old and one of the hottest properties in the scene. Freshly signed to Fader for the album, it was a great showcase of the young singer's voice across a mix of sounds that took in r&b, soul and pop with a mature edge and moving emotional narrative. It was initially only put out on CD but a decade on that is corrected as Fader drop this vinyl version just in time for Christmas.
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