{"title":"Time Capsule Records","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eWelcome to Time Capsule Records, a renowned music label based in Russia. With a rich history and an impressive roster of talented artists, we have been at the forefront of the music industry for years.\u003c\/p\u003e\n\n\u003cp\u003eEstablished in [year], Time Capsule Records has consistently delivered exceptional music across various genres. Our diverse catalog features *artists* who are known for their unique sound and artistic vision. From electronic beats to soulful melodies, our label offers something for every music lover.\u003c\/p\u003e\n\n\u003cp\u003eAt Time Capsule Records, we pride ourselves on our commitment to quality and innovation. We work closely with our *artists* to ensure that their creative vision is fully realized and that each release represents their best work. Our team of experienced professionals provides unparalleled support throughout the entire production process.\u003c\/p\u003e","products":[{"product_id":"nippon-psychedelic-soul","title":"Nippon Psychedelic Soul 1970-1979","description":"\u003cp\u003eThe follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.\u003c\/p\u003e\u003cp\u003eAt the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head.  With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.\u003c\/p\u003e\u003cp\u003eThen there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.\u003c\/p\u003e\u003cp\u003eInfluenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.\u003c\/p\u003e\u003cp\u003eSuch was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.\u003c\/p\u003e\u003cp\u003eIf some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.\u003c\/p\u003e\u003cp\u003eLess a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.\u003c\/p\u003e","brand":"Time Capsule Records","offers":[{"title":"LP - Black","offer_id":50389729935691,"sku":"2188391","price":31.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed_21_1a4c050c_thumbnail_4096.png?v=1726369668"},{"product_id":"heavy-way","title":"Heavy Way","description":"\u003cp\u003eA long-lost Japanese acid folk gem, Niningashi’s 1974 private press debut Heavy Way shimmers with originality, deft song writing and a dream-like groove.\u003c\/p\u003e\u003cp\u003eAlthough he was training as a pharmacist, Kazuhisa Okubo was much more interested in prescribing musical medicine.\u003c\/p\u003e\u003cp\u003eA coming-of-age album, Heavy Way captured a turning point in Okubo’s life, and Japanese society more widely as a nostalgia for the pastoral calm of the traditional life, met the cosmopolitan thrill of coffee, sex and cigarettes in the big city.\u003c\/p\u003e\u003cp\u003eIntoxicated by Tokyo, driven by a passion for music and surrounded by a thriving acid folk scene, the young student filtered his experiences through a psychedelic cocktail of soulful influences from the US and Japan.\u003c\/p\u003e\u003cp\u003eNiningashi was his first band, and Heavy Way was their only album. It was honest and raw, deep and strangely funky, in an off-beat kind of way. Across nine tracks, Okubo and the 6-piece band put their own spin on the new folk sound of Japan, combining witty lyrics with electric guitar-driven solos and crisp, understated grooves.\u003c\/p\u003e\u003cp\u003eMelancholy and profound, opening track ‘Ameagari’ feels like a synthesis of Harvest-era Neil Young and Haruomi Hosono’s Happy End. Then there’s the whimsical washboard country sound of ‘Semai Boku No Heyade’; the moody, low-lit charm of ‘Restaurant’; and ‘Hitoribotchi’, a sensitive portrayal of childhood, steeped in memories of rainfall that will resonate with fans of Woo and Mac Demarco.\u003c\/p\u003e\u003cp\u003eWhile Okubo would go on to taste success with psychedelic folk bands Neko and Kaze, the latter of which scored three #1 albums, little is known about his mysterious debut with Niningashi.\u003c\/p\u003e\u003cp\u003eSelf-released by Okubo in 1974, and featuring album artwork by his brother, it has slowly generated a cult following online, intrigued by its soft and enchanting sound. So few records were ultimately pressed that those remaining have fetched up to £1,500 online.\u003c\/p\u003e\u003cp\u003eFeatured on Time Capsule’s era-spanning collection Nippon Acid Folk, Niningashi’s Heavy Way is a deep-cut grail of a vibrant time in Japan’s musical history, where even the pharmacists were making jams.\u003c\/p\u003e","brand":"Time Capsule Records","offers":[{"title":"Black LP","offer_id":50417069097291,"sku":"2190834","price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/11_-_time019-a_78ea1177_thumbnail_4096.jpg?v=1726715668"},{"product_id":"tokyo-riddim-1976-1985","title":"Tokyo Riddim 1976-1985","description":"\u003cp\u003eIf 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.\u003c\/p\u003e\u003cp\u003eBut the story of Japanese reggae is not a linear one, and the music that is collected on \u003ci\u003eTokyo Riddim 1976-1985\u003c\/i\u003e captures the moment J-reggae entered the broader public consciousness, merging commercial city pop style with an infectious backbeat, that has drawn comparisons with the emergence of Lovers Rock in the UK.\u003c\/p\u003e\u003cp\u003eRather than look directly to Jamaica, many producers and artists in Japan were inspired instead by the more approachable sounds of The Police and UB40, their reggae fix arriving pre-filtered through the lens of new wave pop from the UK. Playful and groovy, these album deep cuts have been overlooked for too long.\u003c\/p\u003e\u003cp\u003eAmong them are Miki Hirayama, the idol singer who borrowed the bassline from Bob Marley’s Natural Mystic on ‘Denshi Lenzi’, Chu Kosaka, who headed to Hawaii to cut the Jimmy Cliff-inspired ‘Music’ and Marlene, the Philippine songstress whose cover of Roberta Flack’s ‘Hittin’ Me Wear It Hurts’ owed much to her producer’s obsession with Sly \u0026amp; Robbie’s Compass Point sound.\u003c\/p\u003e\u003cp\u003eThen there was Izumi “Mimi” Kobayashi, who enlisted the Babylon Warriors to perform on a dubbed-out version of her own track ‘Lazy Love’, the city pop-meets-new wave reggae sound of Miharu Koshi’s ‘Coffee Break’, Junko Yagami’s anti-apartheid deep cut ‘Johannesburg’ and Lily, whose ‘Tenkini Naare’ was produced by Ryuichi Sakamoto and closes out the compilation with a flourish.\u003c\/p\u003e\u003cp\u003eWhile these stories may not always conform to neat narratives, they do provide a more accurate reflection of the indirect ways in which styles infiltrate one another and, in their naivety, have the potential to create something beautifully strange and entirely new. Previously only available in Japan, the tracks on this compilation are a testament to that curious alchemy.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eTokyo Riddim 1976-1985\u003c\/i\u003e is released on vinyl and as a full album download (no streaming), featuring original artwork by Japanese Fukuoka-based artist Noncheleee, whose cover pays homage to the iconic dancehall album art of Wilfred Limonious.\u003c\/p\u003e\u003cp\u003eReleased on 1st September, \u003ci\u003eTokyo Riddim 1976-1985\u003c\/i\u003e is part of Time Capsule's Nippon Series, a loose series of compilations exploring different musical scenes from Japan between the 1960s and 2010s.\u003c\/p\u003e","brand":"Time Capsule Records","offers":[{"title":"LP - Black","offer_id":50419025936715,"sku":"2176118","price":37.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed_76_afc215ec_thumbnail_4096.jpg?v=1726745072"},{"product_id":"nippon-acid-folk-1970-1980","title":"Nippon Acid Folk 1970-1980","description":"\u003cp\u003eA counterculture movement united by an expansive, experimental and deeply soulful sensibility, Japan’s rebel protest music challenged the status quo and changed the country’s music industry in the process.\u003c\/p\u003e\u003cp\u003eThe birth of Japan’s nascent acid folk scene was rooted in the messy and invigorating political climate of the late 1960s. It is a story of Dadaists, communists, pharmacists and cult leaders, led by a young generation of upstart students, artists and dreamers hellbent on turning their world upside down.\u003c\/p\u003e\u003cp\u003eBorn on the campuses of Tokyo, Kyoto and Osaka, and centred around newly formed independent label and left-wing stronghold URC, this uniquely Japanese form of folk expression provided an outlet for musicians who were tired of aping Western sounds and instead found ways to sing in Japanese and integrate traditional forms in new ways.\u003c\/p\u003e\u003cp\u003eAt the forefront of this movement was Yellow Magic Orchestra’s Haroumi Hosono, a polymath innovator whose band Happy End released the first Japanese language rock album, and whose influence would go on to be felt across Japanese music for decades. Alongside, and informed by the Kansai scene’s Takashi Nishioka and Happy End collaborator Ken Narita, they experimented with cadences and accents of the Japanese language to open the door for others to experiment with their own forms of psychedelic folk too.\u003c\/p\u003e\u003cp\u003eSome, like Nishioka, were more inspired by Dadaism than drugs, while others, like Kazuhisa Okubo, would ultimately find work as a chemist, having founded two further folk groups that flirted with varying levels of success. Obstinately uncommercial, relentlessly creative, the music featured on Time Capsule’s Nippon Acid Folk represents a broad church of influences.\u003c\/p\u003e\u003cp\u003ePerhaps the wildest addition to this congregation however was Hiroki Tamaki, a classically-trained violinist and committed iconoclast, whose synth-prog odysseys hinted at his obsession with the divine. Subsumed by the teachings of Bhagwan Shree Rajneesh, he penned an album in praise of the infamous religious leader of which two superbly mind-bending tracks are featured on this compilation.\u003c\/p\u003e\u003cp\u003eCharting the decade from 1970 to 1980 as the dreams of political and spiritual liberation seeded in the ‘60s turned to dust, Nippon Acid Folk surveys a little explored corner of Japanese music history, but one which ultimately laid the foundations for an independent music industry, launching the careers of Hosono and others in the process.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eNippon Acid Folk 1970-1980\u003c\/i\u003e is pressed on 12” vinyl and represents the start of Time Capsule’s deep dive into Japan’s rich history of folk and psychedelic soul music.\u003c\/p\u003e","brand":"Time Capsule Records","offers":[{"title":"LP - Black","offer_id":50429604069707,"sku":"2164300","price":31.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed_29_8c900c25_thumbnail_4096.jpg?v=1726840486"},{"product_id":"stories-from-another-time-1982-1988","title":"Stories From Another Time 1982-1988","description":"\u003cp\u003eThe roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva 1980s albums. For fans of Naná Vasconcelos, John Hassell’s Fourth World ambient, Eduardo Mateo’s psychedelic folk and Cameroonian electronic music visionary Francis Bebey.\u003cbr\u003e \u003cbr\u003eWhether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing. Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation.\u003cbr\u003e \u003cbr\u003eIt is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’.\u003cbr\u003e \u003cbr\u003eBorn in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell.\u003c\/p\u003e\u003cp\u003eIt was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process.\u003cbr\u003e \u003cbr\u003eWhat might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves [which] gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism.\u003cbr\u003e \u003cbr\u003e“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.”\u003cbr\u003e \u003cbr\u003eA selection from Mário’s three 1980s albums, \u003ci\u003eSung’Ali\u003c\/i\u003e (1982),\u003ci\u003e Tunapenda Afrika\u003c\/i\u003e (1985) and \u003ci\u003eKoizas dum Outru Tempu\u003c\/i\u003e (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism.\u003c\/p\u003e","brand":"Time Capsule Records","offers":[{"title":"2LP - Black","offer_id":50457769115979,"sku":"1123124","price":23.99,"currency_code":"GBP","in_stock":false},{"title":"2LP - Black (Half Speed Master)","offer_id":57323475108171,"sku":"R9698-7936","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/03b0c8b3-9042-46ed-a6e7-c93a972b5fc7_thumbnail_4096.jpg?v=1727208031"},{"product_id":"oasis-2","title":"Oasis","description":"\u003cp\u003eQuality reissue of Il Guardiano Del Faro’s 1978 album \u003ci\u003eOasis\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eBorn 1940 in Milan, Federico Monti Arduini was a child prodigy who studied piano and was already performing at concerts from the age of eight. He composed pop songs for other artists which sold millions of copies, but his own solo success came after he encountered synthesizers in the early 70s.\u003c\/p\u003e\u003cp\u003eViewed as a precursor of New Age sound art, Arduini was one of the first producers in Italy to use the Moog synthesizer and a meeting with Bob Moog in New York only added to this obsession. He was also an early adopter of the tradition among electronic producers to use a moniker to disguise his identity. Il Guardiano Del Faro (translated as “the guardian of lighthouse”) is a nod to the small Italian fishing town Porto Santo Stefano, where Arduini created his studio in the mid-70s.\u003c\/p\u003e\u003cp\u003eHe produced a number of albums from this seaside idyl of electronic instruments and tape recorders, but \u003ci\u003eOasis\u003c\/i\u003e stands out from the pack. Released in 1978, it became a cult classic for its experimental sounds and emotional expressions. Spiritual synth sounds cover the album in a dreamy haze, oscillating between ambient and psychedelic. Sparing deployment of the Roland rhythm box gives dance floor favourites \u003ci\u003eDisco Divina\u003c\/i\u003e and\u003ci\u003e Oasis\u003c\/i\u003e touches of space disco and even teases proto-house elements like the great Sun Palace.\u003c\/p\u003e","brand":"Time Capsule Records","offers":[{"title":"Black | LP","offer_id":50469248401739,"sku":"1055716","price":25.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/588b5588-0bc7-446c-adb9-a222e099d9e2_thumbnail_4096.jpg?v=1727358722"},{"product_id":"tokyo-riddim-vol2-1979-1986","title":"Tokyo Riddim Vol.2 1979-1986","description":"\u003cp\u003eDiving deeper into the story of Japanese reggae pop, \u003ci\u003eTokyo Riddim Vol. 2\u003c\/i\u003e explores an electronic, new wave and often experimental sound unlike anything Japan or Jamaica had ever heard before.     The first time Ryuichi Sakamoto left Japan, he did not go to the United States or Europe - he went to Jamaica. It was 1978, YMO were about to release their debut album, but Sakamoto was in Kingston, invited to play synths for Japanese idol singer Teresa Noda at Dynamic Sound Studios in a band alongside Neville Hinds and none other than Rita Marley. It’s not a story many know, but one which would spark Sakamoto’s fascination with dub and mark a new chapter in the ongoing Japanese love affair with reggae. \u003c\/p\u003e\u003cp\u003e    The Teresa Noda tracks they cut - ‘Tropical Love’ and ‘Yellow Moon’ - bookend this second volume of Time Capsule’s Tokyo Riddim compilation, which tells the wider story of how a fascination with Jamrock swept Japan, adding a dash of lime to that sweet city pop sound, embracing a globalised musical palette and creating a whole new genre in the process.     For some, like Sakamoto, a diversion into reggae was part of broader fascination with new sounds and styles, tipped into the global disco of homage and appropriation.     Shape-shifter Yosui Inoue, who toyed with reggae, afro-beat and electro-Balearic, (and whose For Life Records released several tracks on this comp.) and Kay Ishiguro, who enlisted J-reggae originator Pecker on the ambitious Stevie Wonder-esque ‘Red Drip’.     Then there were the Compass Point devotees - producers and musicians alike who were enthralled by the sound of the Bahamas studio and drew on the detached cool of Grace Jones - as heard in the music of Juicy Fruits, and the disco noir of Casablanca-signed femme fatale Yuki Nakayamate. Sometimes, as was the case with Risa Minami, the J-reggae influence said more about Japan than it did about Jamaica.     Where Tokyo Riddim Vol. 1 focused on the city pop sound, this compilation goes further, with more experimental collaborations and hybrids exemplified by Tomoko Aran, who in working with Yusuaki Shimizu and Mariah emphasised just how far reggae had travelled to be recast into something entirely new on the other side of the world.\u003c\/p\u003e","brand":"Time Capsule Records","offers":[{"title":"LP - Black","offer_id":50511809151307,"sku":"2226141","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/image001_3_bd29ecaa_thumbnail_4096.jpg?v=1727894217"},{"product_id":"anime-and-manga-synth-pop-soundtracks-1984-1990","title":"Anime and Manga Synth Pop Soundtracks 1984-1990","description":"\u003cp\u003eTrailblazing instrumental synth pop experiments created to soundtrack Japan’s booming 1980s cartoon and comic industries. The brightly futuristic instrumentals on this collection reflect the mindset of composers and musicians who believed in a technological future where everything was possible. \u003c\/p\u003e\u003cp\u003eIn the late 1980s Japan experienced a brief but heady period where societal changes combined with new-found wealth to open up a world of possibilities. A huge influx of cash - artificially created by slashed interest rates after an agreement with the US to weaken the dollar relative to the yen - resulted in the inflation of real estate and stock market at a rapid pace. While the economic bubble it created was unprecedented and impossible to sustain, for a while money was in plentiful supply.\u003c\/p\u003e\u003cp\u003e The musical genre City Pop reflected the aspirations of the country’s booming leisure class. Video games flourished with Nintendo's 1983 launch of their Family Computer (or FamiCom). Studio Ghibli was founded 1985 to later became one of the most famous and respected animation studios in the world, and Anime and Manga were established as major forms of entertainment for all generations of the Japanese public. \u003c\/p\u003e\u003cp\u003eMusic was no mere footnote to the anime and manga boom: the two forms of media often went hand in hand, and not simply through the presence of background melodies. With generous budgets available, even two-dimensional static manga comics could be released with an accompanying soundtrack of original music known as an ‘Image Album’.\u003c\/p\u003e","brand":"Time Capsule Records","offers":[{"title":"Black | LP","offer_id":50992532652363,"sku":"2228121","price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a0087813483_10_1c8e60e9_thumbnail_4096.jpg?v=1734617168"},{"product_id":"choice-remixes-2008-2022","title":"Choice Remixes 2008-2022","description":"\u003cp\u003eFlipping rhythms from Guadeloupe, Cuba, Senegal and Puerto Rico, Time Capsule founder Kay Suzuki releases an acid-soaked collection of remixes that transcends time and space.\u003c\/p\u003e\u003cp\u003eFrom the blacked-out basement of Plastic People to the psychedelic dancefloor of Beauty and the Beat, Kay Suzuki’s musical world has been shaped by some of London’s most iconic sound systems. High quality audio, he says, can open portals to new universes. Rhythm is time made plastic and beauty is the space between the beats.\u003c\/p\u003e\u003cp\u003eSpanning over fifteen years of music from the prolific DJ, producer, Time Capsule label boss and one time Brilliant Corners sushi chef, this collection of remixes is the logical conclusion of Kay Suzuki’s musical thinking. Drawn to unique percussive or syncopated rhythms, he describes remixes as conversations between the original artist’s sense of time and his own. Weaving broken beat, house and dub influences into rhythms from across the Black Atlantic, these four tracks find each other kinship on the dancefloor.\u003c\/p\u003e\u003cp\u003eThe A-side begins with a dubbed-out rework of the Gwoka celebration rhythm ‘A Ka Titine’ by Guadeloupe’s Gaoulé Mizik that was originally released by Beauty and the Beat in 2022. Layering electronic flares, dub sirens and space echo reverb across the shuffling toumblak beat, Suzuki leans into the track’s creole heritage, turning the track into a sought-after dancefloor jam, played by everyone from Colleen Cosmo Murphy and John Gomez to Yu-Su and Bradley Zero.\u003c\/p\u003e\u003cp\u003eSkipping to Puerto Rico, Broki’s ‘Es Que Lo Es’ emerged from a collaboration between Bugz in the Attic’s Afronaut and Seiji and local musicians. Here Suzuki reworks the Afro-Latin percussion into a subtle bruk, conjuring a third space between London and San Juan that remains both of and outside the era in which it was made.\u003c\/p\u003e\u003cp\u003eBlackbush Orchestra’s ‘Sortez, Les Filles!’ opens the B-side, taking apart the original and kneading the Senegalese percussion into a chugging Balearic house track, buoyant and full of life. Also first released by Beauty and the Beat, the track features new synth and structural elements that bring out the innate dancefloor potential beneath the surface of the original.\u003c\/p\u003e\u003cp\u003eThe final track on the collection heads back to the Caribbean and the island of Cuba, where Sunlightsquare a.k.a. Claudio Passavanti worked with vocalist Rene Alvarez and expert in Afro-Cuban percussion, Giovanni Imparato, on ‘Oyelo’. Here, Suzuki strips out the kick completely, leaving an implied rhythm which he calls an “imaginary four-to-the-floor” - a groove that is felt rather than heard, leaving the listener floating in another universe entirely.\u003c\/p\u003e","brand":"Time Capsule Records","offers":[{"title":"Black 12\"","offer_id":51054273921355,"sku":"2238017","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/748322322270_974x_ec579117_thumbnail_4096.webp?v=1736264014"},{"product_id":"choice-cuts-1978-1983","title":"Choice Cuts 1978-1983","description":"\u003cp\u003eIrrepressible, off-the-wall and utterly unique - the late ‘70s\/early ‘80s Latin jazz-funk and leftfield electronic boogie of Japanese composer and pianist Izumi ‘Mimi’ Kobayashi collected for the first time.\u003c\/p\u003e\u003cp\u003eA luminous soul with an indefatigable love for music, few artists have had careers as varied and successful as Izumi ‘Mimi’ Kobayashi. One of Japan’s leading jazz-funk pianists, she wrote and recorded cult albums with fusion legends at home and abroad. Obsessed with new electronic instruments, she penned some of the country’s most well-known TV themes and pioneered the use of drum machines in anime soundtracks.\u003c\/p\u003e","brand":"Time Capsule Records","offers":[{"title":"Black LP","offer_id":51183423422795,"sku":"2228122","price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a2774963690_10_c6ef1a20_thumbnail_4096.jpg?v=1738267249"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/collections\/test_7fa3d4b6_thumbnail_4096_4f75a612-a207-4c77-a7db-5c687e6138d5.jpg?v=1726369649","url":"https:\/\/shop.roughtrade.com\/collections\/time-capsule-records.oembed","provider":"Rough Trade","version":"1.0","type":"link"}