Studio Mule Japan レコード& CD

Review: Revered Japanese house producer and DJ Kaoru Inoue has been making his mark since the late 90s with releases music through his label Seeds and Ground and others like Mule Musiq and Groovement. Originally released in Japan in 2013, this newly reissued album blends world music, field recordings, ambient and electronic elements into an immersive and widescreen sound. It opens with the minimal gamelan ambient track 'Malam' followed by the Afro-Brazilian house of 'Selva' which is reminiscent of early Luciano and Villalobos. The album also features electric jazz fusion house, avant-garde tribal breakbeats and Balearic slow house. Closing with the melancholic new age piece 'Healing Force,' it's a timeless delight.

Review: Moogroove is the alias of Japanese house music producer Kenji Eto, who released this highly sought after gem originally back in 1994 on Mo Rhythm Records. Made famous by Motor City Drum Ensemble on his Fabric compilation where he used the track 'Dark Room', this is the EP's first reissue courtesy of Studio Mule featuring artwork from Lily Fei. Features the hypnotic back room dub of 'Moogroove' (part 2), the classic acid house sound of 'Out Of Control' and the deep, late-night mood music of 'Out Of Time'.

Review: Japan's Mule Musiq returns with the second edition of the excellent Midnight In Tokyo series, showcasing their country's capital and its propensity for audio-visual dystopia. Most importantly, the compilation is made up of strictly Japanese talent, and centred on the wider 'house' sound. For instance, the opening "Hikobae", from Genji Sawai, is a majestic bit of Balearic that emanates the word 'downtempo' like nothing else we've seen. But, there is so much to explora and dig into here; our favourites from the packs are Air Suspension Club Band's boogie-leaning "In The Hot City", Jugando's future-jazz bit "Twisty", the effortlessly cool waves of "Samarkand" by Kingkon Paradise, and Om's "Windmill" - probably the best instrumental slice of neo-percussionism that we've heard from the imprint. Recommended.

Review: More from Studio Mule's must-check "Midnight In Tokyo" series, which gathers together obscure gems from the Japan that "sound best listened to at night". While the previous volume largely focused on forgotten Japanese jazz-funk, this edition is more eclectic in tone, variously touching on rare groove, new wave, soul and disco. It's another belting selection, all told, with highlights including the breathy sleaziness of Yoko Hatanaka's "More Sexy", the post-punk boogie eccentricity of Mari Kaneko's "Get To Paradise", the sprightly synth-funk of "Sunshine Bright On Me" by Kangaroo and the synth-rock silliness of The Fad's wonderfully over-the-top "Singing Lady".

Review: Tsunaki Kadowaki curates Midnight in Tokyo 4, exploring an obscure form, "Ambient Kayo", which shortens the Japanese pop phenomenon Kayokyoku or "Showa-era pop" and dissolves it in a blushing, titrated wash of ambience, taking cues from the "Showa-era" pop period that lasted roughly from 1977-1999. The compilation presents a diverse breadboard, with such charcuterie items as Yosui Inoue's 'Umi e Kinasai', an ambient pop gem and Balearic bisque, and Keiko Nosaka & George Murasaki's 'Oritatamu Umi', blending Okinawan and progressive rock. The collection also has hidden treasures like S.R. Kinoshita's 'Mangrove', a mystical New Age piece, and 'Yume Furin' by E.S. Island, capturing island life's higher vibrations. With contributions from iconic figures like Haruomi Hosono, this album is an evocative, genre-defying celebration of Japanese ambient pop that resonates with contemporary sensibilities.