Review: Both of these funk gems are taken from a cult compilation Trans Groove Express, which explored the sounds of Express Records and was assembled by MURO. Fourth Wave now serve them up on a superb 7", starting with Maki Asakawa. 'Hohi Hitotsu' is a delightfully gentle and subtle dub with funky guitars adding movement while the sultry vocal soars. Yasuhiro Abe's 'Night Fish' is a brighter and more retro 80s soul and boogie sound with glowing chords and snappy hits. The Japanese language vocal is emotive enough to mean plenty without understanding the meaning of the words.
Review: Last year, Marcel Vogel dusted down his Em Vee edit alias for the first time in three years, serving up a tasty four-pack of reworks for OYE's ongoing Edits series. It clearly inspired him to make more reworks, because now he's popped up on Razor-N-Tape with another fine selection of scalpel revisions. He begins by reworking a tongue-in-cheek chunk of disco silliness rich in spacey Moog lines and wonky vocals ("You Move Me"), before tweaking and rearranging a superb chunk of Latin-tinged tropical disco ("Spreading Energy"). "Don't Be Sabi Say" is a high-tempo chunk of Afrobeat/Afro-disco fusion full of ear-catching Nigerian vocals and bustling electric piano riffs, while "I Wish I Knew The Words" is a cheeky revision of an obscure Japanese synth-boogie number.
Review: This classic Japanese funk tune has long been adored by erudite boogie, 80s funk and soul fans in Japan but also more internationally, and for the first time here it is now available as a 7" single. Produced by Toshiki Kadomatsu, the release includes one track each from the Jadoes albums It's Friday from 1986 and Free Drink in 1987, both of which are considered iconic in the Japanese boogie canon. 'Summer Lady' is full of glossy 80s drums and sparking melodies that bring unbridled joy and 'Friday Night' is a little more paired back but the stepping drums and male-female vocal interaction is a thing of beauty.
Review: To kick off new label Takashimashuzo, Kammoushiki - who is presumably the boss - is dropping two new 12"s in the same week. This is the second and like the first, it is inspired house music that takes its cues from the 80s Ibiza party landscape. 'Magic Hour' has gurgling basslines riding up and down the scale with innocent keys and lazy drums. It's heartwarming stuff from sundown. 'Nakanaide' then ups the Balearic quotient with even more prominent and arcing guitar licks over bongos and soulful chords.
Review: Since making his debut at the tail end of the noughties, DJ/producer Loftsoul (real name Masahiko Uchikawa) has served up some scintillating material. While his original productions mostly gravitate towards the soulful end of the deep house spectrum, he's not averse to delivering the odd downtempo gem too. Here he launches a new series of white label, hush-hush reworks via a desirable seven-inch single. On side A he delivers a dusty, beatdown-style rework of Marlena Shaw classic 'Ghetto Woman', adding her distinctive vocals to a head-nodding mid-tempo house beat smothered in reverb-laden electric piano riffs and solos. Over on the flip he tastefully tools up and beefs up disco-funk classic 'Bump & Hustle', adding to the original drums with his own crispy and crunchy drum machine beats,
Review: On this fresh disco 7", DJ Koco (aka. Shimokita) and DJ Kawasaki have re-edited and cut Nayutah's hit songs 'Keep It Up' and 'Stand Up' into an enduring pair of bright disco edits. Both Nayutah's original tracks really wanted us to keep it supine; Koco and Kawasaki act as commanders of this charge, not shying away from the ostensible stringy glitz of the original song. Kawasaki's edit skews funkier, employing live bass and rhythm guitar and adroit drumming to fit around Nayutah's agile, sisterly vocals, and drawing on his already extensive experience of working alongside Nayutah for her album, also called Keep It Up.
Review: This 7" vinyl marks the inauguration of the new Konbini Klassics label and it features expertly curated city pop and funk gems from Japan's golden era. The A-side offers 1983's 'Do What You Do' which is a relaxed synth-driven track with irresistibly catchy vocals. On the B-side you can enjoy the sounds of Cosmos, the all-female supergroup who deliver their slap-funk classic 'Midnight Shuffle' with its big horns, funky bass and twinkling synth melodies. A perfect 45 rpm gem, this release brings Japan's iconic sounds back to life and then some.
Review: Blissful boogie reissue from Junko Ohashi, whose 7-inch promo for 'Dancin' here functioned as the promo material for the 1983 album 'Point Zero'. Sounding just as rough, farty and raw as its original LP cut, the track is a perfect example of what Japan brought to disco - blending it largely with city pop - at the time. 'In Your Lovin', as it did on the original album, brings up the B-side with a downer-tempo funk beat, and a lyrical subject dealing with a romanticized, ideal lover.
Review: City Pop-era Japanese girl group Shohjo-Tai's 1984 EP with Red Bus Project (an alternative alias for their then synth-loving production outfit, Redbus), 'Escape', has long been a favourite amongst crate diggers - hence this handy reissue courtesy of Sound Metaphors offshoot Thank You. While the artwork has been refreshed, all three original tracks appear in freshly remastered form. On side A you'll find 'Forever', a body-popping slab of 1984 electro featuring Shohjo-Tai rapping in English over bubbly drum machine beats, squelchy bass, 'Rockit'-esque sounds and periodic horn breaks. Turn to the flip for Antal favourite 'Electric City', a driving City Pop-meets-Italo-disco club track blessed with a heavy and metronomic bassline, and the electro-goes-jazz-funk brilliance of 'Ku.Ro.O.Bi.Magic'.
Review: Natsu Summer is a city pop and reggae sensation who is set to go to the next level with the release of her upcoming 2024 album Orange Airmail. She now teases it in fine style with this new limited 7" vinyl that has been produced by Cunimondo Takiguchi of RYUSENKEI. Teh single, '2025' is a vibrant and danceable lovers' rock track featuring amapiano rhythms and hot stepping rhythms that make it a real gem for enlivening any dance floor through a loud sound system. The B-side includes a special cover of a hidden Japanese lovers' rock classic from the '90s which adds a nostalgic touch to this delightful analogue release.
Review: Hitomi Toyama's 'Sweet Soul Music' originally made it to wax last year, when the track appeared as part of a rare Japanese funk compilation curated by the sound's brightest stars, Wamono. Now, though, it gets a proper release on 7", and is backended by the sultry B-side 'Wanna Kiss', which sounds pitched up and chirpy in its shrill alto vocals, which assure us we're held. The A, meanwhile, is as horny (in both senses of the word) as ever, quite obviously singing the praises of "sweet soul music... I love you!"
Yuji Toriyama & Ken Morimura - "Night Together" (4:47)
Chie Sawa - "Sea Gull" (4:07)
Review: Way back in 1982, Japanese musicians and producers Yuji Toriyama and Ken Morimura joined forces to deliver Aerobics, a soundtrack for exercise classes (really) that joined the dots between boogie, disco and city pop. 'Night Together', a superb electrofunk instrumental rich in picturesque synthesizer melodies, jazz-funk guitar solos (Toriyama was a guitarist by trade), squelchy bass and drum machine beats. It's certainly well worthy of being reissued - as this tidy "45" from Pony Canyon amply demonstrates. Curiously, it's not backed by another gem from that set, but rather another slept-on Japanese classic - 'Sea Gull' from Chie Sawa's 1974 hybrid folk-rock/psychedelic rock album 23 - Twenty Three Years Old. It's decent, but the A-side is the real winner.
Review: After a four-year hiatus, Urban Volcano Sounds returns with their eagerly awaited single, "Disco Taberna," released on 7" vinyl. Known for their Balearic crossover style, urban boogie influences, and elegant sound production, the track showcases their signature blend of lush strings and soulful melodies. "Disco Taberna" is a nod to the golden age of 70s disco, capturing the era's opulence with meticulous production. The track's lush arrangements and soaring strings reflect a deep respect for the classic disco era, while the urban boogie influences add a modern twist. The single's release follows the inclusion of their track "Ame no Uta" from their previous album "Blue Hour" in the "Tangent" compilation by Nick The Record & John Gomez, released by MR.BONGO in July. This feature has further cemented Urban Volcano Sounds' growing reputation, both in Japan and internationally. "Disco Taberna" not only reaffirms the group's commitment to high-quality sound but also highlights their evolving influence in the music scene. The single's blend of nostalgic and contemporary elements promises to captivate both longtime fans and new listeners alike.
Review: Japanese popstar Anri continues to hear her entire back catalogue reissued - this time we home back in on Bi Ki Ni, her mid-career (1983) city pop opus, which laser-focuses on the romantic tropes of sunsets, beachside flings, and heartfelt goodbyes over cocktails in flight lounges. The coalescing of jazz, funk and disco meshes neatly as Anri glides tightly over each ultra-slick instrumental, with the aptly named 'Good Bye Boogie Dance' being a particularly neat highlight.
Review: While it's a cliche to describe Balearic-minded releases as being "sun-soaked" and "sunset-ready", they're both descriptors that accurately reflect the gorgeously warm, melodious and laidback sound of Japanese outfit Coastlines. Their second self-titled album is every bit as inspired as its predecessor and offers a range of tracks built around layered, intricate instrumentation, gently shuffling rhythms and vivid daydreams about beachside walks in sunnier climes. Our picks of a very strong bunch include the Andreas Vollenweider-inspired slo-mo Latin shuffle of 'Tenderly', the blazed deep jazz-funk of 'Alicia', the piano-laden early morning wonder of 'Night Cruise' and the squelchy future boogie of 'Sky Island'. In a word: sumptuous!
Bright Like Light (feat Sauce 81 - DJ Kawasaki Recreated Experimental Session) (3:59)
I'm So On Your Mind (feat Rasiyah - DJ Kawasaki Recreated Disco mix) (4:35)
So Far Away (DJ Kawasaki Recreated Jazzy reprise) (3:14)
Ain't No Mountain High Enough (feat N'Dea Davenport - DJ Kawasaki Recreated Latin Disco mix) (4:49)
Shinning (feat Bird - DJ Kawasaki Recreated Disco mix) (4:54)
Let The Music Play (feat Yoo Hee - DJ Kawasaki Recreated Disco mix) (3:55)
One (feat Lori Fine - DJ Kawasaki Recreated Disco mix) (4:27)
Shooting Star (DJ Kawasaki Recreated dub Tribute version) (3:58)
Review: Acclaimed DJ, singer, remixer and songwriter DJ KAWASAKI is a beat maker who does it all from broken beat and nu jazz to hip hop and deep house. Bridge Into The Future: Recreated Tracks finds him cooking up his own newly constructed takes on a range of classic source tunes. It makes for a broad and brilliant collection. 'I'm So On Your Mind' (feat Rasiyah - DJ Kawasaki Recreated Disco mix) is a gloriously sunny sound with louche breakbeats at its core, and the Diana Ross classic 'Ain't No Mountain High Enough' (feat N'Dea Davenport - DJ Kawasaki Recreated Latin Disco mix) becomes a salsa tinged and gloriously steamy anthem.
Review: DJ Notoya returns with another expertly curated selection of Japanese gems, this time delving into the funky, soulful, and city pop sounds of King Records. Spanning the years 1974 to 1988, this compilation is a treasure trove of forgotten classics and hidden gems, a sonic time capsule that transports listeners back to the neon-lit streets and vibrant nightlife of 1980s Japan. Buzz's 'Garasumado' kicks things off with an infectious groove and funky guitar riffs that could rival any Western funk classic. Mami Ayukawa's 'Sabita Gambler' adds a touch of soulful sophistication, her smooth vocals gliding over lush instrumentation. Keiko Toda's 'Fade In' is a city pop gem, its dreamy melodies and catchy hooks evoking a sense of carefree optimism and urban cool. Elsewhere, Johnny Yoshinaga's soulful ballad 'The Rain' provides a moment of introspection, while Kumiko Sawada's disco-infused 'Your Love's Away' will get you moving and grooving. The compilation closes with the feelgood sounds of Masatoshi Kanno's 'Day By Day', a perfect encapsulation of the city pop aesthetic.
Review: Adding to the fervour around Japanese city pop - the genre is still a clogged but speculative seep for reissuers, who are keen to capitalise on the mainly Tokyo-born genre's still underground, under-recognised reserves of music - comes DJ Nutoya with a fresh and terse ten-tracker compilation: Tokyo Bliss. This breezy selection centres on the all-rounder genre's favourite international foci, boogie and funk: frissonic formulas for sensational home listening. Most tracks here make their debut on vinyl outside of Japan; from Buzz's pristine tremolo'er 'Garasumado', to Keiko Toda's escape-noteworthy 'Fade In' and Yuji Mitsuya's delirious summer disco dirge 'After Five At Caf-Bar', this is an impeccable curation job.
Hitomi Tohyama - "Sweet Soul Music (Kiss Of Life)" (3:50)
Review: For the latest edition of their essential Wamano A to Z compilation series - the third to date - DJ Yoshiwza Dynamite JP and Chintam have decided to focus on "Japanese light mellow funk, disco and boogie" tracks recorded between 1978 and '88. Like its' predecessors, the eight-track set is heavy on obscurities and little-known cuts, as well as bona fide killer cuts. There's much to savour throughout, from the intergalactic, slap-bass propelled boogie brilliance of Jadoes' 'Friday Night (Extended Mix)' and the laidback funk bliss of Yumi Sato's 'Ame', to the smooth jazz-funk lusciousness of Hitomi Tohyama's 'Rainy Driver' and the Latin-infused, Teena Marie style electrofunk brilliance of Mizuki Koyami's 'Kare Niwa Kanawanai'.
Review: Japanese keyboard player, singer-songwriter, music producer Mimi Izumi Kobayashi was born in Funabashi and went on to become a cult artist who released six albums, all of them in the eighties. Tropicana came in 1983 and is maybe the best known of lot and it now gets reissued on limited vinyl via Universal. It's a bright and vibrant blend of city pop, soul, disco and tropical sounds with nostalgic 80s drum sounds, hook vocals in English and Japanese and plenty of camp and catchy grooves. A real exotic wonder.
Review: Izumi Kobayashi's Coconuts High is a vibrant testament to her evolution as an artist. Reissued on vinyl, this album showcases Izumi's mastery in blending funk, Latin, and tropical influences into a cohesive and electrifying album. This piece features heavy hitters like Pecker, Freddie Washington, and the legendary Tower of Power horns, along with contributions from The Waters and guitarist Masayoshi Takanaka. Tracks like 'Palm St.' and 'Small Dynamite' pulsate with energy, while 'Lazy Love,' a reggae-infused reinterpretation of 'Crazy Love,' highlights her innovative spirit. Recorded in Los Angeles with a top-notch roster of musicians, Coconuts High encapsulates the essence of summer with its infectious grooves and tropical vibes. Each of the eight tracks is meticulously crafted, reflecting Izumi's growth as both a singer and composer. This reissue invites a new generation of listeners to fall in love with the sun-soaked rhythms and catchy melodies that make Coconuts High a timeless gem in Japanese funk and soul music.
Review: Choice Cuts 1978-1983 gathers eight tracks from four of Mimi's early albums-Sea Flight (1978), Coconuts High (1981), Nuts Nuts Nuts (1982), and Tropicana (1983). Opening with a funky, syncopated take on Sergio Mendes' 'Mas Que Nada' and the crisp techno-pop of 'Coffee Rumba,' all of which mean the compilation showcases Mimi's eclectic style. It also features the synth jam 'Quiet Explosion' and the piano samba 'Espresso.' Two standout tracks from Coconuts High-the sultry 'Crazy Love' and the lively 'Palm Sr'-highlight her playful Latin-tinged jazz fusion. Released on Takanaka's Kitty Records, this collection reveals Mimi's vibrant and innovative artistry.
Review: Shuya Okino is a DJ, club owner, writer and producer as well as being a part of the Kyoto Jazz Massive, and has been a vital figure in the Japanese club scene for over three decades. He is involved in a wide range of projects from Cosmic Village to Root Soul to Mondo Grosso, but his work with brother Yoshihiro as Kyoto Jazz Massive might be his best. This new album is another standout fusion of synth, broken beat and nu-jazz styles. Some of the tunes are pure dance floor heaters such as the prickly vibes of 'Get Up' while others gaze off to a cosmic future such as the gorgeous synths of 'Visions Of Tomorrow'. Essential.
Review: Portablist Lounge have put together this special 7" scratchsafe™ battle record which also includes a sticker. The record has a narrow head-gauged and has been deep cut which means it won't skip no matter how hard you work it, and it' features standard scratch samples with AI generated voices from well-known celebrities including Alex Jones, Bart Simpson, Kermit the Frog, Stan Marsh, Angry Male, Adam Sandler, Alan Partridge, Cleveland Brown, Jerry Springer, Rick Sanchez, Snoop Dogg, Donald Trump, Tucker Carlson, Eric Cartman, Stewie Griffin, Greta Thumburg, Arnold Schwarzenegger, Joe Rogan, Limmy, Peter Griffin, Peter Kay and Simon Cowell.
Review: Meiko Nakahara, a celebrated figure in the city pop revival, returns with a reissue of her eighth studio album, originally released in 1988. This captivating collection showcases Nakahara's signature blend of sophisticated pop, jazz influences, and smooth grooves, capturing the essence of the late 80s Japanese music scene. The album features the title track, 'Kagami no Nakano Actress', which served as the opening theme for the popular anime series 'Kimagure Orange Road', as well as the ending theme, 'Dance in the memories'. With its blend of catchy melodies, lush arrangements and Nakahara's expressive vocals make this a real, rediscovered classic.
Review: A lesser-known but electrifyingly slick city pop record (her fourth) by Junko Ohashi. 1979's Full House hears the Japanese singer's graceful but powerful contralto in full collaborative force, paired against the historic instrumental talents of her backing band, Minoya Central Station. Perhaps second only to Ohashi's timeless New York paean, Magical, Full House is yet another discographic dazzler that most likely contributed to the revival of the city pop genre after its retroactive but no less ironic recognition in the popular music sphere by the vaporwave subgenre, future funk. The mood throughout Full House is vital and joyful, suggesting something close to complete emotional fulfilment and idealistic glee on the singer's part - all part of the city pop's objective - its grand plan - to portray metropolitan life as an ultimate ideal.
Review: Follow Me is the second album from celebrated actress Yasuko Sawaguchi, whose look as well as vocal talent made her a beloved icon of the 1980s. Originally released in 1988, this album features ten tracks including the standout theme song 'Follow Me' from her starring role in the drama Exciting Rock 'n' Roll Street. With acclaimed composer Tetsuya Komuro contributing his musical talents, 'Follow Me' captures the vibrant energy of the era by blending pop melodies with Sawaguchi's unique charm. This release is a nostalgic nod to her career and an essential addition for fans of 80s Japanese pop culture.
Review: Originally released in 1983, Hitomi Tohyama's NEXT DOOR was the great Japanese artist's fourth album and now it makes a welcome return to the shelves thanks to this limited edition reissue on clear green vinyl. Deeply inspired by early 80s American pop, this City Pop classic captures the essence of urban life with every track. it is truly packed with sweet and infectious rhythms and nostalgic medics, lush hooks and effortless charm. As such NEXT DOOR is a toe-tapping journey through Tokyo's city lights that is sure to connect with a whole new generation.
Review: We're thrilled to see and help announce the reissue of Hitomi "Penny" Tohyama's iconic 1983 album Sexy Robot, a cornerstone of 80s Japanese AOR and city-pop. This reissue celebrates Tohyama's fifth release, which captures the vibrant New York sound of the era and paved the way for the Beacon Sound movement in Japan. The album features Tohyama's silky vocals paired with infectious beats and some of the best city-pop of the era. Sexy Robot stands out for its blend of smooth melodies and energetic rhythms, presenting an authentic slice of 80s music culture. This vinyl reissue offers a pristine listening experience, although the record has some noticeable scuffs that do not impact playback. This reissue is a fantastic entry point into the world of city-pop and a celebration of Hitomi Tohyama's enduring legacy.
Review: Light In The Attic only deals in records you absolutely must own, but this Pacific Breeze series in particular has been fantastic. Happy it now gets up to a third instalment with another laser focus on Japanese City POP, AOR and Boogie between the years of 1975 and 1987. And there is a wealth of material for them to go out. Across four sides of glorious green vinyl, we're treated to high-grade sounds from plenty of known and lesser-known artists such as Atsuko Nina, Yukako Hayase, 1986 Omega Tribe and many more. There is a melodic joy and cathartic cleanliness to these sounds that always leave you wanting more.
Godiego - "The Birth Of The Odyssey - Monkey Magic" (5:00)
Ikue Sakakibara - "This Is Hot" (3:59)
Soul Media - "I Will Give You Samba" (4:21)
Hatsumi Shibata - "Purple Shadow" (3:49)
Yumi Murata - "Krishna" (4:55)
Yoshito Machida & Godiego - "Ame Wa Knife No Yo Sa" (3:34)
Pink Parachute - "Disco Great Tokyo" (4:31)
Hatsumi Shibata - "Hazumi De Daite (A Woman In A Man's World)" (3:38)
Review: In the late 1970s and early 80s, disco swept through dancefloors across the world, with musicians, producers and labels in all four corners of the world recording and releasing their own local variations on the New York-pioneered sound. This fine compilation digs into the Japanese interpretation of the sound, offering up a selection of gems pulled from the vaults of the Nippon Columbia imprint. As you'd expect, there are some genuinely soaring and delightfully over-the-top cuts on show (see Godiego's 'The Odyssey Begins - Monkey Magic' and the disco-funk mania of Ikue Sakakibara's bilingual 'This Is Hot'), alongside such forgotten or lesser-celebrated gems as Yumi Moreta's rubbery bass-propelled 'Krishna', the strings-and-synth-drenched brilliance of Pink Parachute's 'Disco Great' and the ridiculously grandiose 'Hazumi De Daitte (A Woman Inside a Man's Body)' by Hatsumi Shibata.
Review: For the last ten years Japan's reissue market has blossomed into one of the most fruitful for western listeners eager to explore very rare Japanese releases and artists from the 70s and 80s specifically. In no other genres has this been most displayed then in the new age, ambient, folk and synth realms. Alfa/Yen Records 1980-1987: Techno Pop & Other Electronic Adventures In Tokyo follows this fantastic era of passing on to a new generation. This compilation features many luminary figures in the Japanese scene with an extra emphasis of it honing in on Yellow Magic Orchestra and its members. After the popularity of similar compilations in the past five years, this looks to be one of the most successful reissues of Japanese electronic music in 2024!
Review: Since its inception in 2020, Kunimondo Takiguchi's City Music Tokyo compilation series has emerged as one of the most authoritative and reliable sources of 'city pop' gems - in part because he traditionally looks beyond the style's 1980s heyday and includes older and newer songs that fit into the celebrated style's colourful and Western pop-influenced aesthetic. There's naturally plenty of goodness to be found across the latest edition, subtitled 'Anagram'. The plentiful highlights include the joyous, boogie-era disco swell of Ami Ozaki's 'Love Is Easy', the quirky, big band-sporting eccentricity of 'Maya Maya Beach' by Yuko Kanai, the slow-motion reggae-pop warmth of Seiko Ito's 'Nagisa No Unlucky Boys' and the low-slung wonder that is Parachute's 'Kowloon Daily'.
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