Light In The Attic US レコード& CD

Review: Seattle label Light In The Attic Records is proud to present a reissue of material from Nancy Sinatra's most prolific period between 1965-1976, with 23 tracks including her revered collaborations with Lee Hazlewood. Sinatra's performance of 'These Boots Are Made for Walkin'' became her signature tune. The pair began a three year run of successful recordings, with 'Sugar Town,' 'Some Velvet Morning,', 'Summer Wine' as well as the James Bond theme 'You Only Live Twice' being just a few. She also worked with songwriter Mac Davis, producer Lenny Waronker and arranger/producer Billy Strange on the album.

Review: The Microcosm: Visionary Music Of Continental Europe, 1970-1986 presents works from 'cosmically-taped' artists; legends like Vangelis, Ash Ra Tempel, and Popol Vuh through to more obscure names in the form of Bernard Xolotl, Robert Julian Horky and Enno Velthuys. According to Washington State label Light In The Attic, the compilation aspires to present these these works of "ambient, new age, neuzeit, prog, krautrock, cosmic, holistic stuff, whatever one calls it - as a pulsating movement unto itself", and they've done a fine job of that when you hear how well curated this album really is. From major label recordings through to limited obscure cassette editions, it unearths some truly captivating and oddly inspiring gems from beatless electronic music's recent past.

Review: As the third installment brings attention back on this crucial series, Light In The Attic are running a repress of their second voyage into the plentiful realm of Japanese city pop - another extended cruise through impossibly slick '70s and '80s groovers with that golden studio sound. There's sultry slinkers like Eiichi Ohtaki and sensual funk from Kimiko Kasai on "Vibration (Love Celebration)". Watch out for the heavy bass and subtle synth inflections of Yu Imai's incredible "Kindaichi Kosuke Nishi E Iku" and the impossibly catchy whistlealong 'Hot Sand' by Piper. It's not a competition, but if you crave that US AOR sound, it might just be that the Japanese did it better.