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2LP
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GLOSSY 017LP
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$39.50
PREORDER
RELEASE DATE: 11/24/2023
Fake Yourself is an act of revolt as much as it is a celebration of life and an expression of human alienation. As usual in most of his work, soFa here reflects musical contrasts and contradictions as our existence so often does. It's about sadness and joy, ups and downs and the fine line which connects them to tell a story. Fake Yourself comes as a spontaneous output of an artist escaping a scene of which the constant superficiality is unavoidable. Mistakes and unusual production with a strong DIY flavor are a conscious choice to keep the spontaneity vibing. A pure and direct self, exploring a realm of sound with sharp curiosity, emotion, and humor. Where simplicity and complexity marry. soFa leaves all boundaries behind and lets many of his influences confluence to find his very own sound. One can feel it is a very personal exploration which shines in its authenticity. Unconsciously or not, traces of IDM, disco, new beat, dub, and Krautrock cross heavenly paths and get augmented with ironic vocals and his hypnotic signature basslines. Everything seems to make sense, to fill the chapters of an adventurous short novel. A man shaping and finding his authentic sound and take you to this journey of his very own "style-no-style". All tunes were improvised, recorded, and arranged within ten days in a wooden cabin, isolated in the middle of nature in Alentejo/Portugal in spring 2022. This album was not meant to happen. No overdubs.
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2LP
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GLOSSY 013LP
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El Pulso de la Madera comes as the definitive official reissue of the first album by the legendary band, along with previously unreleased remastered material, on a double-LP with extensive liner notes and previously unseen pictures of the band. Essential to revisit the work of a band that inspired fourth world and organic ambient as we know it today; these tunes sound immersive and still contemporary. On their short but influential career, Finis Africae proposed an informal and decentralized model of creativity that was decades ahead of current practices linked to technological advances; they explored unknown worlds and imagined landscapes of the "fourth world" apart from their present; they neither affirmed nor denied any of the labels they were to assign to them ("new age", "ethnic music", "world music", etc.); they recreated, used, and nourished foreign cultures without fear. And most importantly -- they shaped a sound "finis". Your own space. Where there were no rules. A dimension in which the collective was submerged in long sessions of improvisation; where they could be goblins and magical entities; a place where they could imagine scales and structures unreal; where they could play any instrument in the known world; where they could tour the Mediterranean, Africa, and the Middle East in a blink of an eye; where they could be themselves without caring about anything that happened outside. The unreleased tracks come as a careful selection of a deep-dive over hundred tracks and demos, compiled by Urba and Glossy Mario. The license comes from Juan Alberto Arteche's family.
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LP
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GLOSSY 014LP
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First time reissue. Sowaka, recorded in 1984, displayed an innovative sound that went beyond genre -- mixing dub, world, jazz, electro, hip-hop, and avant-garde. A perfect match of some of the most experimental artists of that time resulting in an extremely sought after and singular piece of music of the golden Japanese era. A talented crossover. In 1984, working with Bill Laswell, Michael Beinhorn, and Midori Takada would be unlike working with anyone else Genji Sawai had before, pulling him out of the J-jazz experimental scene he was based on. Rather than work off written music, they'd build songs like cooks. Genji might supply the ingredients, perhaps the tonal choices -- sax, FM synths, drum machines, and Bill would task himself to do the "cooking", creating the overall image of the song. It's the use of imagery to have a conversation with each other, musically, that just felt so different to Genji. Unlike the other musicians who contributed to Sowaka, musicians of impressive, rarefied technique like Midori Takada, Shuichi "Ponta" Murakami, and Kazuhiko Shibayama, notation or sheet music wasn't a part of Genji's vocabulary with Bill. With him, drawings were how songs were built from the ether. Whatever image a demo conjured up -- that's where the song had to go. You hear it on songs like "Hikobae" that predicted the chopped and screwed sound that would revolutionize hip-hop years later. On this track what started with a mental picture, of some kind of tree shoot, metastasizes a vision full of no-wave sax skronk dosed with pointillistic dub affectations. Although, Sowaka wasn't tied inherently to its original meaning -- the final utterance from the Buddhist Heart Sūtra -- its philosophical meaning wasn't too divorced from the true meaning (or at least, his truest meaning) Genji placed on it here: getting things done. Simply put, all his high-minded ideas wouldn't have come to fruition unless all involved put some serious work into getting the project over the finish line. In five cracking days the album was put on tape and was then jettisoned off to NYC for Bill to put its final touches. Somewhere, between the mind, body, and spirit, closer to one's neck and booty, was this music urging you to simply move elsewhere, further, until you're closer to where Genji's music would land. Includes liner notes.
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12"
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GLOSSYFL 003EP
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In the midst of the summer of 1988, a duo of artists from Belgium and Italy got together in the surroundings of the infamous X-rated film Rocket 23 Studios Molenbeek to build a seductive sound. Originally involved in the cinematography and art direction of adult movies, the two mavericks decided to compose the soundtrack of what was going to become a cult movie of the late '80s erotique era: Sexo y Fantasia. The Belgian and Italian directors discovered back then the new beat, proto house and Italo sound at the underground Ghent disco club "La Pircardía" and at "Club Spaziale" in Rimini, after their wet shooting days. Inspired by this bubbling European hype, they added features and distorted vocals from the X-rated movies they were filming at that time to the melody and beat of the soundtrack. The result is a powerful, unexpected and deep collection of tunes that sound fresh and vibrant today. These unique tracks get to see the light of the day again thanks to the finding of the filthy master tapes together with a provocative fanzine somewhere in Brussels. Its images served as raw material for the adult artwork. Sexo y Fantasia gets now revisited by current producers on the left side of the beat: t-woc uses his masterful expertise to build an atmosphere of Balearic layouts, while Alexander Arpeggio works his way around a hypnotic and punchy remix of the original theme. Recommended listening experience while eating.
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LP
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GLOSSY 011LP
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Wave to Mikey, the fourth album from the Los Angeles-based actor, musician, and photographer Danny Lane is a nocturnal, neon-lit ode to the friendships that shape us. "I made this album for my friend Mikey from back home," Danny explains. "We were pretty much inseparable for a large part of our lives, and our musical and social minds were always in sync in a special way. Then with age, we drifted apart, especially since I moved to Los Angeles. This album is just a little wave hello to an old friend and a kindred spirit." Equal parts avant-garde composition, instrumental city-pop, ambient, Kankyō Ongaku (environmental music), and fourth world music, Wave to Mikey is an impressionistic and reflective cycle of eleven richly detailed memory portraits. Throughout the album, the influence of Jon Hassell, Arthur Russell, Hiroshi Yoshimura, and Yellow Magic Orchestra hangs in the air like late-night mist, adding character but never overshadowing the rhythmic ambience of Danny's musical visions. Wave To Mikey began as a series of sketches on analog synthesizers, guitar, sample and found percussion sketches, initially recorded in Danny's home studio. Once he'd located the vibe, Danny called on his friends E Talley II, Solange collaborator John Carroll Kirby, and Destroyer session musician Joseph Shabason, who respectively added flute, spiritual synth textures and saxophone to the record. For Glossy Mistakes founder Mario G.R., who originally discovered Danny through his photography, Wave To Mikey captures a vivid feeling of melancholy and peace. Wave To Mikey marks Glossy Mistakes' second contemporary album release, following on from Evenings by Japanese composer Metoronori. Mastered by Damian Schwartz.
Born and raised in Staten Island, New York, Danny began playing music with his friends when he was thirteen, before putting that passion on pause to study Fine Arts (Theater) at Rider University in Lawrence Township in pursuit of an acting career. Acting led him to photography, after playing a photographer in a film, he was inspired to pursue the medium. Danny began shooting photos on film for magazines and lifestyle brands, spent a stint living in New York's Chinatown neighborhood, and eventually relocated to Los Angeles in 2017. Four years ago, Danny started recording and releasing music under his own name, leading to the trilogy of releases that preceded Wave To Mikey, How To Empty A Cup (2019), Memory Record (2019), and CAPUT (2021). Over the course of these releases, he's revealed himself to be a sophisticated composer and producer with a studied ear from years spent digging through record bins for ambient, experimental, new age, jazz, and electronica records from around the globe, with a particular emphasis on Japan.
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2x12"
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GLOSSY 009LP
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Reissue, originally released on CD in 1998. In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room (GLOSSY 010LP) and Greenpeace. Recorded under his Stevia alias for Tokyo techno pioneer DJ Miku's Newstage Records/NS-COM, they were Yokota-san's homage to the foundational days of club music in Japan. Glossy Mistakes present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san's oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock, and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius. When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san's social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac, and William S. Burroughs electrified the air. By 1996, the moment, brilliant and blinding as it was, was over. "We all felt that the rave scene fizzled out," DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. "At the time, we saw eye-to-eye, with an implicit understanding of each other," he explains. "Even now, twenty-five years later, I am confident it was like that."
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2x12"
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GLOSSY 010LP
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Reissue, originally released on CD in 1997. In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room (GLOSSY 010LP) and Greenpeace. Recorded under his Stevia alias for Tokyo techno pioneer DJ Miku's Newstage Records/NS-COM, they were Yokota-san's homage to the foundational days of club music in Japan. Glossy Mistakes present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san's oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock, and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius. When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san's social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac, and William S. Burroughs electrified the air. By 1996, the moment, brilliant and blinding as it was, was over. "We all felt that the rave scene fizzled out," DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. "At the time, we saw eye-to-eye, with an implicit understanding of each other," he explains. "Even now, twenty-five years later, I am confident it was like that."
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LP
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GLOSSY 007LP
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Glossy Mistakes present a reissue of Akira Ito's Marine Flowers, originally released in 1986. Some artists have gained huge recognition, some records have been idealized to the point of becoming cult albums... and that's exactly the case of Marine Flowers, by Japanese mult-iartist Akira Ito. Akira's musical interests changed throughout his life experiences and travels, up to the point when he knew exactly what he wanted to do (without knowing how to do it): healing music. Akira understood that once he set up shop at Hitokuchizaka Studios in Tokyo the work of translating these ideas began in earnest. First, he started his own record label, dubbing it "Green & Water" to promote a series of releases that would strike a more organic tone, envisioning a series of Japanese Environmental Music records. Marine Flowers would be one of four self-penned albums on the label dedicated to esoteric symbolism like Hopi Prophecies (1986), Prayers (1986), and Four Corners Of Water (1986). Flanked by more than a phalanx of analog and digital synthesizers from Roland, Korg, and Moog, Akira would dedicate this release to those waters of Palau. Here he would largely improvise on scratch ideas he had in mind, creating a musical base for tracks like "W·A·T·E·R", "Dancing Spirits", and "Life Goes On" that he'd let invited friends and gifted musicians, like violinist Takashi Toyoda, the late Japanese drum giant Shuichi "Ponta" Murakami, and others contribute their own ideas afterward. Hearing the music now, it's not hard to understand just what Akira stumbled into. Marine Flowers (Science Fantasy) is of a new lineage of "ambient" artists like Hiroshi Yoshimura, Satoshi Sumitani, and others who took academia out of all these therapeutic ideas married to scientific theories, making them into something a bit more universal, malleable, and palpable. This Music For Inochi or "music for life", treated us to gorgeous, floating music like album opener "Prologue, Into the Beauty" where Akira's droning, aquatic-sounding electronics open up to the ebb and flow of percolating electroacoustic sonics that flow into the aforementioned "W·A·T·E·R". Rich and organic, a violin melody from Takashi Toyoda feels like an aural lily pad bobbing along to all these gentle sonorities. Gentle piano melodies cycle in and out of songs like "Dancing Spirits" evoking classic ambient discreet music from the likes of Brian Eno. Others like "Essence Of Beauty" have gossamer parallels in the works of Harmonia. Liner notes by Diego Olivas (Fond/Sond), from an interview with the artist coordinated by Ken Hidaka.
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LP
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GLOSSY 006LP
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In the early '80s, Japan was in a flourishing bubble, becoming the world's second-largest economy, threatening to overtake the West with its cutting-edge innovation. Middle class Japanese citizens indulged in luxury clothes, imported wine, and international travel, enjoying unorthodox freedom. City pop emerged as the soundtrack to this cosmopolitan lifestyle: an ode to bright colors, sunny beaches and naive romances, with a clear West influence. Such influence also brought together the first health and fitness wave to Japan: for the first time, taking care of oneself was trendy, and "Aerobic", the word in everybody's mouth. Hyped by the momentum, both the Aerobic Fitness Association (A.F.A. U.S.A, still running) and the Nippon Aerobic Association put together a program to help audiences follow Aerobic classes on channel TBS. Not surprisingly they hired one of the most inspired young talents of the era, the guitarist Yuji Toriyama (now well-known as one of the fathers of Japanese fusion), to perform, together with Ken Morimura (keyboardist for the salsa band Orquesta Del Sol) a series of tracks that could help the viewers keep their body moving. As surprisingly as it seems, that fusion of killer boogie guitars and synths with kitsch aesthetics was made for exercising. Aerobics is a soundtrack made up of boogie beats that span the genres of funk, technopop and even city pop with the purpose of getting folks off their heinies and moving around rhythmically. As this album plays fully instrumental, Toriyama's rhythms and glossy arrangements melt together perfectly with uplifting synths and programmed drums to give birth to a distinguishable cheerful atmosphere. An Aerobic jam. A refreshing and vibrating experience from beginning to end to kick off the summer in perfect shape. First time reissue. Includes obi and original large poster with aerobic moves (with stretches and poses).
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LP
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GLOSSY 005LP
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Originally released in 1980, Amanita is an early approach of Canadian artist Sherine Cisco, formerly known as Stu Cisco, to the limitless world of synthesizers in music, through ambient, progressive rock and drone noise. A unique combination of ambient, progressive rock, and even drone noises and space-age that converged in Amanita, her first full album and a piece of music history. This LP marks a milestone in the investigation, experimentation, and evolution of musical instruments, where the Mini Moog demonstrated its versatility and creative potential, opening Sherine a path of limitless possibilities. By the time Amanita was first released in 1980 (only 300 copies were pressed at the time), Sherine had been playing synths for seven years. But far from acknowledging how traditional instruments were played, she tried to do things her own way, creating moving landscapes and a unique language of sound. This DIY approach to music was, as well how the album was made, in her own studio, with synthesizers that were originally meant for live performances such as the Elka Rhapsody or the Elektro Harmonix, channeled through a Dokorder 4 Tape Recorder. However, what Sherine Cisco was living in her personal life, a gender transition, was as important to the record as the instruments she used to create it. "Beginning in the early 1980s, I began experimenting with taking the female hormone, estrogen. I felt like I was gradually being re-born. It affected my music, the mood of the music, and me, physically and mentally." A spacey vibe surrounds each of the 12 cuts that compose Amanita, waving from ambient to experimental music, introducing drone noises that add mystery to the whole piece and creating epic moments, with the Mini Moog accompanied by Randy Gray's drums. To close things off, a synth pop infused track works as a masterpiece ending to this story. Remastered from Master Tapes by Music Matters Mastering. Handmade, silk-screened cover art; includes insert with images and interview from the artist; edition of 500.
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LP
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GLOSSY 004LP
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Glossy Mistakes present a reissue of Yas-Kaz's Jomon-Sho, originally released in 1985. Peaceful, percussive, and idyllic new age from Japanese composer and student of gamelan music, Yas-Kaz. This seminal album is a cornerstone to understand the Japanese ambient and environmental movement. He rose to musical prominence composing for the dance troupe led by one of the founders of Butoh, Tatsumi Hijikata. The album features a wide range of entirely acoustic instruments and field recordings and was made for stage performance by Sankai Juku Butoh Group at Theatre de la Ville, Paris. Yas-Kaz has influenced quite a few important artists (Ryuichi Sakamoto, Midori Takada, Geino Yamashiro-Gumi) over four decades. However, he remains somewhat "unsung": Glossy Mistakes unveils his art throughout this special edition. His composition/music is not focused on any specific genre/style of music either. Especially in his work for dance theatre he often delivers bare abstract sound/resonance which might not be recognized as "musical" from the Western perspective. He lived in Bali, Indonesia in the '70s introducing the gamelan Balinese sounds and culture to Ryuichi Sakamoto (collaborated in the album Esperanto), Midori Takada, Shoji Yamashiro (leader of Geino Yamashiro-Gumi who later created the soundtrack for Akira) among others. A unique and unseen masterpiece unveiled again throughout a remastered edition.
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GLOSSY 003LP
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Repressed. Glossy Mistakes present the first official reissue of Takashi Kokubo's Digital Soundology #1 Volk Von Bauhaus, originally released in 1985. Ambient and environmental Japanese scene has flourished stronger than ever over the last few years. The pioneers of this sound and the creators of an innovative way of making and understanding ambient music, such as Hiroshi Yoshimura, Yoshio Ojima, Toshifumi Hinata, or Takashi Kokubo have been championed and their works have been successfully unearthed by reissue labels. Continuing in this endless path, Glossy Mistakes adds Takashi Kokubo's brilliant Volk Von Bauhaus to its catalog, with the Japanese masterpiece as the third official release of the Spanish label. As with most '80s Japanese ambient and environmental music, Volk Von Bauhaus is an audio impression designed to give a multi-sensory experience to the listener. An effort to make things audible, an exercise of understanding, and sound tracking objects or situations. The main objective of this sound is to create an iconic musical landscape to accompany a specific place. Though his name might be unfamiliar to many, Kokubo has crafted music that has impacted virtually all of Japan, from national mobile phone earthquake alerts to contactless card payment jingles. He was one of the first artists to create ambient music strictly through loops. As he mentioned when release this album, "this recording used no keyboard players, no multitrack tape recording techniques, no analog sounds." A shift on the process of imagining sound. Volk Von Haus is an ode to this ambient, new age, and environmental music created in Japan throughout the '80s. Throughout nine cuts, Kokubo handcrafts his own sound and immerses the listener in a peaceful yet challenging adventure. The record is the first piece of his Digital Soundology series, and arguably his most interesting work due to the groundbreaking techniques he used. "A revolutionary musical expression that shatters the old values," explains Kokubo about this piece. And it's just what you can hear when you play Volk Von Haus. Reissue includes an unheard exclusive track by Takashi Kokubo and an insert with an interview made by Takashi Kokubo. A true gem that must land in every ambient head's musical library. Remastered from master tapes by Frederic Stader.
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LP
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GLOSSY 002LP
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Glossy Mistakes present a reissue of Tito's Quetzalcóatl, originally released in 1977. Proto-electronics psychedelic Mexican holy grail. Inspired by Vangelis, Tomita, or Kraftwerk, this unknown rarity gets a second life sounding fresh and pioneering today, Tito was born in 1946 in Ciudad de México, the son of two Spaniards. Since he was a youngster, he had felt the passion for music and instruments. In the meantime, he started a career as architect. Since his early years, he joined various teen rock bands, where he played bass and guitar. Slowly but surely, his interest in synthesizers started to grow. And the rest is history. Tito defines himself as an "electronic sounds fanatic". Quetzalcóatl is a truly authentic cornerstone in those terms: an inspired and eclectic artist gives shape to a unique sound through legendary synthesizers such as the MiniMoog or the Arp Odyssey. His passion was so embedded that he even built his own guitars and equalizers; some of which appear on this LP. Quetzalcóatl, his debut solo album, was originally recorded in 1977 (now remastered) in his bedroom using a four-channel Sony recorder in a truly DIY way. This album could be considered as a rarity. But if you listen hard enough, you find a pioneering treasure. Somehow, Quetzalcoátl anticipated the sounds of future decades with simple but inspired compositions. It is a mythological trip to the Pre-Hispanic México. This album is an allegory of the Aztec world. Quetzalcoátl is the most important God for Mesoamerican cultures: it represents the inherent human dualism between the body (represented by the snake) and soul (the feathers). In the song "Profecía", Quetzalcoátl emerges, announcing the end of the world at the hand Spanish colonialism. Remastered in Amsterdam by Wouter Brandenburg. Comes with insert; edition of 600.
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GLOSSY 001LP
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2020 repress. Glossy Mistakes present a reissue of Raphäel Toiné's Ce Ta Ou / Sud Africa Révolution, originally released in 1986. Imagine standing on an empty room. Nothing seems to be moving. There is not a single noise there. Just a wooden door. You it and you find a space full of color, movement. You can see a few bodies swaying. You can hear clearly a melody. A beautiful vocal. Several palm trees arise. You find yourself in the middle of one of the most beautiful paradises on earth, Martinique Island. What you are hearing is Raphäel Toiné's Ce Ta Ou / Sud Africa Révolution, one of the most gorgeous Zouk albums ever made. Funk arrangements, fat bass, and crazy synths all melt together in a record that transports the dancer to a remote piece of land in the middle of the Caribbean. This rare Afro-boogie and Zouk synth funky LP was recorded in Switzerland in 1986 by this incredible artist that knew how to condense the vibe and lifestyle of a region in a piece of black gold. "Dread Vibrations" or "Sortilège", two of the seven cuts that compose this work are both ready to delight a listener on the prettiest sun rise as well as make dancers drool at the end of a three-day festival. "Femmes Pays Douces" is an impressive exercise where vocals decorate a melodic instrumentation that could be listened in loop forever. "Bizness A Bangkok" is a synth and jazzy masterpiece that captures the '80s pure essence and brings peace to the body and mind. Glossy Mistakes unleashes its second release reissuing this highly demanded piece of music that really deserves to reach an audience that can appreciate this ode to the Caribbean islands. Let yourself loose and embrace the essence of the '80s Raphäel Toiné sounds with a fresh coconut in your hands. Remastered by Wouter Brandenburg.
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LP
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GLOSSY 000LP
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A percussive trip to the roots of new age. Total is an obscure masterpiece by ethnic percussion group Om Buschman. Tribal rhythms, spiritual jazz, and organic grooves melt together in Total. Recorded in Germany in 1989, this glossy originally edition was lost and then found in a warehouse, next to other matte finish covers, that never got distributed. 180 gram vinyl.
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