Cosmogony can be described as a model constructed to study the origin of the universe. In this case, I wanted to put together a mixtape for charting the path of fourth world jazz, new age, ambient, and kosmische synth music from its origins in the 1970s on up through today. This stuff is kind of my bread and butter, the music that’s always looping between new releases and old favorites alike. Press play and close your eyes.
Take a little journey into the digital forests of ancient Japanese video games and half-remembered dreams. This is Yume Park.
This mixtape takes a hard swerve into exotic space, bouncing rhythm, and funky groove. It’s a get-up-and-go sound for getting lost in the woods, resolute meandering after dark, a gateway into the balmy nights of summertime.
I started writing this two years ago, but couldn’t find the right words. Midori Takada’s debut Through The Looking Glass is an album that shrugs off description, flitting on dream logic like a hummingbird through a garden. I’m still not sure I can capture what makes this album special, but I’m happy to try and convince everyone to listen.
The quickest way to state the appeal for myself is this: the album sits at the perfect crossroads between my love of modern classical music and Japanese surrealism. There’s a lot more to it, though.
This is some of the brightest, most colorful music I’ve been into in a long time. It’s a psychedelic magic trick, striking the pulse of zeitgeist labels like 1080p and Orange Milk from far out of left field, a completely unexpected place and time.
I was tricked in the best way when I first heard Soichi Terada Presents Sounds From The Far East.
The Durutti Column, aka Vini Reilly, is my favorite guitarist of all time. His vast discography stretches over countless incredible rhythms, solos, and experimental moments of unbridled joy. To hear him play is to witness a musician in total communion with his instrument, his true voice.
I feel like I’m going to start doing a weekly post about the albums I’m listening to. That way, even if I don’t end up writing something lengthy about a given album, I’m still spreading the good word.
So here goes.
Have you ever heard of Fishmans? If not, that’s okay, because you’re here. I’m sharing their most incredible album. Uchu Nippon Setagaya is pure dub nirvana from Japan.
As a true believer in dub in all its permutations, I wholeheartedly consider this one of the best examples of the genre. Fishmans lit a constellation spanning the night sky from Kingston and Tokyo, mixing lush electronics, deep, wobbly bass lines, and the utterly distinct, androgynous vocals of lead singer Shinji Sato. Their final album may be the purest expression of this unmistakable sound.