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'Tokyo Dreaming' is a superb selection picked from the highly collectible Nippon Columbia label and its Better Days sub-label. For the occasion, we've teamed up with journalist and Japanese music expert Nick Luscombe who was granted rare access to the much-guarded Nippon Columbia's vaults for a masterful selection encapsulating the fascinating sound of Tokyo in the late 70s and 80s.

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If there is a year zero for the introduction of reggae music to Japan, you’d be forgiven for thinking it was 1979 when Bob Marley and the Wailers toured the country, trailed by an entourage of journalists, photographers and fans ready to spread the message of the music into all corners of Japanese society.

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Too many people sleep on Tougher Than Leather, Run-DMC’s fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game –Public Enemy, Boogie Down Productions, Eric B. and Rakim, Ice-T and many more had given Hollis, Queens’ prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game.

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Born to Ugandan parents on the St Raphael's Estate in Neasden, north-west London, George has always been an ambitious storyteller. Influenced by his hometown, George started MCing , and eventually found his voice in poetry and with it an avenue for change.Track Record: Me, Music, and the War on B...

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Producer and bassist Huw Marc Bennett presents ‘Tresilian Bay’, a new project that draws from artists such as Tim Maia, Augustus Pablo and Idris Muhammed as much as the jazz scene and community he has found in south-east London. The languid, sultry sound fuses both modern and vintage, travelling from South London electronica, to Brazillian groove, Nigerian Afrobeat and Ghanaian Highlife along with a streak of Welsh psychedelia.

Francis Bebey is the kind of artist whose legacy feels infinite.
Tresor Magnetique, this compilation of unreleased tracks, archival recordings, and neglected gems from Bebey's vault, feels like a grand reveal in an ongoing narrative - a story that spans continents and generations. The compilation's name (translated as "Magnetic Treasure") sets the stage perfectly. Not only does it reference the fragile tapes discovered in the home of Bebey's son, Patrick, but it also hints at the almost gravitational pull of Bebey's art. Meticulously digitized at Abbey Road Studios, these tracks radiate clarity and urgency that defy the decades separating them from contemporary ears. One listen to Tresor Magnetique, and it's as if you're opening a letter from another era, only to find that its contents speak to you more vividly than today's headlines.

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Elektro Guzzi From Vienna Are Back With Their New, Their Ninth Album »Triangle«. Since Their First, Self-Titled Album In 2010, Elektro Guzzi Have Been Working On A Variety Of Techno That Is Not Programmed On A Computer Or Sequencer, But Rather Analogously Performed By Using Electric Bass (Jakob Schneidewind), Drums (Bernhard Breuer) And Electric Guitar (Bernhard Hammer) And It Is Techno-Music, That Arises In The Moment Of Interaction - A Music That Often Develops In The Direction Of Cosmic Music. On »Triangle«, Elektro Guzzi Overcame The Natural, »Learned« Sound Of Their Instruments. The Futuristic Concept Of Techno Shines Through All The More As A Role Model - That There Is Precisely This Clear Idea Of Transcending The Present By Playing A Hypnotic, Interlocking Music Of The Future. »Triangle« Is The Logical Next Step For A Band That Is Always Looking For »More«, For Departure, For Consistency. The Forced Break Of The Lockdowns 2020/2021 And The Restrictions In The Context Of The Crisis Made The Band Move Closer Together; On »Triangle«, Elektro Guzzi Increased Their Efficiency To The Unbelievable.

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While the afrobeat jazz of their previous work is still a core part of the record’s sonic design, the new album largely pulls from British R&B from the 80s, neo-soul, West African disco, bossa nova, lovers rock and funk. Sonically taking cues from the likes of Loose Ends, Don Blackman, Common, Sly & Robbie, William Onyeabor, Patrice Rushen, Ofori Amponsah and Cymande.

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The Rose That Grew from Concrete is a collection of poetry written between 1989 and 1991 by Tupac Shakur, published by Pocket Books through its MTV Books imprint. A preface was written by Shakur's mother Afeni Shakur, a foreword by Nikki Giovanni and an introduction by his manager, Leila Steinber...

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The first and only estate-authorised biography of the legendary rapper and an essential reevaluation of his legacy, fully illustrated with mementos, clothing, handwritten poetry, lyrics, musings and more.
There are legends, and then there is Tupac.
Tupac Shakur became one of the greatest and most...

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Around this time Danny’s output came to the attention of Jalapeno Records boss Trevor Mac “I loved Danny’s records from day one but I couldn’t work out which funk records he was sampling. I got in touch with him to let him know how much I liked his stuff and he told me that there were no samples - he’d written all of it. As soon as I knew that I offered him an album deal”

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An ambient-techno classic, UFOrb captures Alex Patterson and his sonic henchman at their early peak. While the Orb had already created a dance-floor and chill-out-room sensation in 1991 with Little Fluffy Clouds, this follow-up disc displays Patterson's talent for fusing ambient music with dub science and a club culture mindset.

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