Scott Orr // Miracle Body TAPE
Scott Orr // Miracle Body TAPE
¥2,420
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カナダ・ハミルトンのポップレーベルOther Songs主宰Scott Orrが、2024年10月にリリースしたアルバムです。
スムース・ジャズを経由したアダルト・ポップ9曲を収録。DLコード付属。
Joseph ShabasonやNicholas Krgovichが好きな方にオススメします。
レーベルその他作品はこちら /// Click here to see more Other Songs releases available at Tobira.
--------------------------------------------
Includes DL code. Cassette tape.
Tracklist:
1. Thank God!
2. Can We Have a Chat? 03:57
3. ...About Our Destiny
4. Settle Down
5. Clear (as Day)
6. Show/Shelter
7. Pre-Time
8. Hold Time
9. Miracle Bodies 04:22
Artist : Scott Orr
Label : Other Songs
カナダ・ハミルトンのポップレーベルOther Songs主宰Scott Orrが、2024年10月にリリースしたアルバムです。
スムース・ジャズを経由したアダルト・ポップ9曲を収録。DLコード付属。
Joseph ShabasonやNicholas Krgovichが好きな方にオススメします。
レーベルその他作品はこちら /// Click here to see more Other Songs releases available at Tobira.
--------------------------------------------
Includes DL code. Cassette tape.
Tracklist:
1. Thank God!
2. Can We Have a Chat? 03:57
3. ...About Our Destiny
4. Settle Down
5. Clear (as Day)
6. Show/Shelter
7. Pre-Time
8. Hold Time
9. Miracle Bodies 04:22
Artist : Scott Orr
Label : Other Songs
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{"id":8716141428986,"title":"Lia Kohl \/\/ Too Small to be a Plain TAPE","handle":"lia-kohl-too-small-to-be-a-plain-tape","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan\u003eアメリカ・シカゴのチェロ奏者Lia Kohl\u003c\/span\u003eが、2022年に同国Shinkoyo\/Artist Poolからリリースしたデビューカセットです。\u003c\/p\u003e\n\u003cp\u003eチェロやシンセ、ラジオ、フィールドレコーディングを用いたアンビエント〜ネオクラシカル・アンビエント6曲を収録。DLコード付属。廃盤です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3886033683\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=3118017283\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3886033683\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e-----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette in norelco case. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFirst Picture of the Weather Pattern 03:47\u003c\/li\u003e\n\u003cli\u003e\"Join me, everybody\" 06:16\u003c\/li\u003e\n\u003cli\u003eMoon Bean 08:25\u003c\/li\u003e\n\u003cli\u003e\"Too small to be a plane\" 06:09\u003c\/li\u003e\n\u003cli\u003eSecond Picture of the Same Weather Pattern 03:34\u003c\/li\u003e\n\u003cli\u003e\"Delivered back to you, over and over again\" 05:23\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eShinkoyo\/Artist Pool: \u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e“I decided to treat my process like gathering tiny beach rocks -- nothing stands on its own initially but after a few months you find yourself with a collection,” says Chicago cellist, composer, and improviser Lia Kohl. She’s talking about beginning work on her album Too Small To Be A Plain, which began as experiments in creating small bits of music every day. For years, Kohl has worked in collaboration with artists, ensembles, and bands, either in projects of her own or lending her skill to others. Recently, though, she’s begun cultivating work in a solo capacity, spurred by the allure of continuous creation. “Every day I would go into my studio and make something,” she explains, “even if it was a one minute synth loop or a tiny cello improvisation.” The result is a surreal, moody assemblage incorporating cello, synthesizer, field recordings, and radio, a testament to both patient, layered building and tender attention to the people, instruments, and technology around us.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePart of Kohl’s process in making Too Small To Be A Plain is about being open to serendipity. Despite the collection’s apparent compositional tidiness, most of the sonic components are improvised. Oftentimes the artist will perform several spontaneous takes with similar ethos and then layer them on top of each\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eother. The culmination is often unexpected - see the third and longest composition on the album, “Moon Bean,” in which layers of woozy, sighing cello subtly metamorphose over organ-like drones -- its dream-like quality mirroring the hazy playfulness of light waltzing across a ceiling. “I’m often shocked at the way things interact,” she admits, “That my sense of time stays the same over several takes -- it often sounds like I'm intentionally playing with a previous take but I’m not.” Kohl pairs this openness with an acute compositional impulse, often taking months to curate and arrange her improvisations, an unusual but effective combination of intuition and perfectionism.\u003cbr\u003e\u003cbr\u003eKohl boasts an adventurous toolkit, even wielding technological limitations and idiosyncrasies to beguiling effect - for instance, the rigid rule-following of computers or a finicky old radio. Take the somnambulant slow-burner “Join Me, Everybody,” in which Kohl converts her cello pizzicatos to midi, and uses the imperfect translation. The cello becomes disorienting, but overtones transform into higher-register beeps and steady, low plucks become percussive guides. In using the radio as an instrument, Kohl allows the chance meetings of drones and pops in the airwaves to create a soundscape that she braids into her synths. The album’s first and fifth songs include these periodic bursts of orchestral radio static, like beautiful but disorienting transmissions from another world.\u003cbr\u003e\u003cbr\u003eField recordings are another serendipitous vehicle on Too Small To Be A Plain, one that places us in a space, somehow familiar, but just beyond geolocation. Though many of her found sounds draw the listener in -- birdsong, windchimes, the crackle of bread and the hum of conversation -- their apparent coziness remains just out of focus. There’s something surreal about the way Kohl presents these sounds, fuzzy versions of familiar places; a party? a sunny porch? We’re always cut off before we can look around and see where we are. In the album’s title track, two people whisper together over the hum of insects, hushed in the thrall of their whereabouts. Bringing us with them, they wonder about the crickets, the passing planes, and then get lost in a swell of sound.\u003cbr\u003e\u003cbr\u003eThroughout, Too Small To Be A Plain mingles the sounds of home, of recognizable music with the external, the unknown. For someone like Kohl who oftens responds to other players at a moment’s notice, her deft attention to detail and intricate symbiosis is easily witnessed. With outcomes as moving as Too Small To Be A Plain already in the wake, her path as a solo artist working in the thralls of wonder is assured.\u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Lia Kohl\u003c\/p\u003e\n\u003cp\u003eLabel : Shinkoyo\/Artist Pool\u003c\/p\u003e","published_at":"2025-02-07T14:35:52+09:00","created_at":"2025-02-07T12:45:26+09:00","vendor":"Tobira Records","type":"","tags":["ambient","neo classical","new","recommended","tape"],"price":227700,"price_min":227700,"price_max":227700,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47108907106554,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Lia Kohl \/\/ Too Small to be a Plain TAPE","public_title":null,"options":["Default Title"],"price":227700,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/pla1_c6d57c2e-f393-41a3-887f-0763b6e61ea6.jpg?v=1738899951","\/\/tobirarecords.com\/cdn\/shop\/files\/pla2_2667a8a7-4f13-4a6f-b53e-ba7cde9f8746.jpg?v=1738899951"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/pla1_c6d57c2e-f393-41a3-887f-0763b6e61ea6.jpg?v=1738899951","options":["Title"],"media":[{"alt":null,"id":35527640219898,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pla1_c6d57c2e-f393-41a3-887f-0763b6e61ea6.jpg?v=1738899951"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pla1_c6d57c2e-f393-41a3-887f-0763b6e61ea6.jpg?v=1738899951","width":700},{"alt":null,"id":35527640252666,"position":2,"preview_image":{"aspect_ratio":1.5,"height":800,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pla2_2667a8a7-4f13-4a6f-b53e-ba7cde9f8746.jpg?v=1738899951"},"aspect_ratio":1.5,"height":800,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pla2_2667a8a7-4f13-4a6f-b53e-ba7cde9f8746.jpg?v=1738899951","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan\u003eアメリカ・シカゴのチェロ奏者Lia Kohl\u003c\/span\u003eが、2022年に同国Shinkoyo\/Artist Poolからリリースしたデビューカセットです。\u003c\/p\u003e\n\u003cp\u003eチェロやシンセ、ラジオ、フィールドレコーディングを用いたアンビエント〜ネオクラシカル・アンビエント6曲を収録。DLコード付属。廃盤です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3886033683\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=3118017283\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3886033683\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e-----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette in norelco case. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFirst Picture of the Weather Pattern 03:47\u003c\/li\u003e\n\u003cli\u003e\"Join me, everybody\" 06:16\u003c\/li\u003e\n\u003cli\u003eMoon Bean 08:25\u003c\/li\u003e\n\u003cli\u003e\"Too small to be a plane\" 06:09\u003c\/li\u003e\n\u003cli\u003eSecond Picture of the Same Weather Pattern 03:34\u003c\/li\u003e\n\u003cli\u003e\"Delivered back to you, over and over again\" 05:23\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eShinkoyo\/Artist Pool: \u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e“I decided to treat my process like gathering tiny beach rocks -- nothing stands on its own initially but after a few months you find yourself with a collection,” says Chicago cellist, composer, and improviser Lia Kohl. She’s talking about beginning work on her album Too Small To Be A Plain, which began as experiments in creating small bits of music every day. For years, Kohl has worked in collaboration with artists, ensembles, and bands, either in projects of her own or lending her skill to others. Recently, though, she’s begun cultivating work in a solo capacity, spurred by the allure of continuous creation. “Every day I would go into my studio and make something,” she explains, “even if it was a one minute synth loop or a tiny cello improvisation.” The result is a surreal, moody assemblage incorporating cello, synthesizer, field recordings, and radio, a testament to both patient, layered building and tender attention to the people, instruments, and technology around us.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePart of Kohl’s process in making Too Small To Be A Plain is about being open to serendipity. Despite the collection’s apparent compositional tidiness, most of the sonic components are improvised. Oftentimes the artist will perform several spontaneous takes with similar ethos and then layer them on top of each\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eother. The culmination is often unexpected - see the third and longest composition on the album, “Moon Bean,” in which layers of woozy, sighing cello subtly metamorphose over organ-like drones -- its dream-like quality mirroring the hazy playfulness of light waltzing across a ceiling. “I’m often shocked at the way things interact,” she admits, “That my sense of time stays the same over several takes -- it often sounds like I'm intentionally playing with a previous take but I’m not.” Kohl pairs this openness with an acute compositional impulse, often taking months to curate and arrange her improvisations, an unusual but effective combination of intuition and perfectionism.\u003cbr\u003e\u003cbr\u003eKohl boasts an adventurous toolkit, even wielding technological limitations and idiosyncrasies to beguiling effect - for instance, the rigid rule-following of computers or a finicky old radio. Take the somnambulant slow-burner “Join Me, Everybody,” in which Kohl converts her cello pizzicatos to midi, and uses the imperfect translation. The cello becomes disorienting, but overtones transform into higher-register beeps and steady, low plucks become percussive guides. In using the radio as an instrument, Kohl allows the chance meetings of drones and pops in the airwaves to create a soundscape that she braids into her synths. The album’s first and fifth songs include these periodic bursts of orchestral radio static, like beautiful but disorienting transmissions from another world.\u003cbr\u003e\u003cbr\u003eField recordings are another serendipitous vehicle on Too Small To Be A Plain, one that places us in a space, somehow familiar, but just beyond geolocation. Though many of her found sounds draw the listener in -- birdsong, windchimes, the crackle of bread and the hum of conversation -- their apparent coziness remains just out of focus. There’s something surreal about the way Kohl presents these sounds, fuzzy versions of familiar places; a party? a sunny porch? We’re always cut off before we can look around and see where we are. In the album’s title track, two people whisper together over the hum of insects, hushed in the thrall of their whereabouts. Bringing us with them, they wonder about the crickets, the passing planes, and then get lost in a swell of sound.\u003cbr\u003e\u003cbr\u003eThroughout, Too Small To Be A Plain mingles the sounds of home, of recognizable music with the external, the unknown. For someone like Kohl who oftens responds to other players at a moment’s notice, her deft attention to detail and intricate symbiosis is easily witnessed. With outcomes as moving as Too Small To Be A Plain already in the wake, her path as a solo artist working in the thralls of wonder is assured.\u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Lia Kohl\u003c\/p\u003e\n\u003cp\u003eLabel : Shinkoyo\/Artist Pool\u003c\/p\u003e"}
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アメリカ・シカゴのチェロ奏者Lia Kohlが、2022年に同国Shinkoyo/Artist Poolからリリースしたデビューカセットです。 チェロやシンセ、ラジオ、フィールドレコーディングを用いたアンビエント〜ネオクラシカル・アンビエント6曲を収録。DLコード付属。廃盤です。 ----------------------------- Includes DL code. Cassette in norelco case. Tracklist: First...
¥2,277
クイックビュー
{"id":8716138053882,"title":"Khotin \/\/ Hello World Khotin (10 YEAR ANNIVERSARY CASSETTE) TAPE","handle":"khotin-hello-world-khotin-10-year-anniversary-cassette-tape","description":"\u003cp\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp\u003eカナダ・エドモントンのハウス作家Khotinが、2024年7月にリリースした再発カセットです。（オリジナルは2014年リリース）\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eハードウェアによるアンビエント・ハウス〜ディープハウス8曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2958817317\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e----------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette in norelco case. Originally released on 1080p in 2014.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e1. Hello World 06:13\u003cbr\u003e2. Ghost Story 06:45\u003cbr\u003e3. Infinity Jam 06:05\u003cbr\u003e4. Flight Theme 04:24\u003cbr\u003e5. Everything Dub 06:46\u003cbr\u003e6. Mornings 04:18\u003cbr\u003e7. Nakhodka (ft. Via App) 04:38\u003cbr\u003e8. Why Don't We Talk 06:26 \u003c\/p\u003e\n\u003cp\u003e1080p:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003c\/em\u003e\u003cem\u003eLight, textural daydream house from Edmonton’s Dylan Khotin-Foote, whose debut 1080p release under the Khotin title lands in the middle of close, bedroom zones and more club-friendly grooves.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSince his initial moves towards house and techno genre experiments two years ago, Khotin has refined his unique slant on gentle acid and blurred yet effervescent hybrid house, with a stack of hardware: Roland TR-505, 606, 707, SH-101, Juno 106, Korg MS-10, Yamaha DX7, and various casio keyboards.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKhotin’s lightly dusted grooves are inflected with a bedroom pop sensibility as much as reverence for heavy techno greats, scattering samples over breezy house rhythms. Loose themes of flight and brightness coast in and out of each side (mixed live); loose house drifters like “Flight Theme” and title track “Hello World” float on gentle bongos and hi-hats and brightly hued melodies (that are consistently focal and catchy across the record) while darker techno heavy hitters like “Why Don’t We Talk” and “Infinity Jam” bring a distinct take on cosmic hardware vibes.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Khotin\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLabel : Khotin Industries\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCAT No : \u003cspan\u003eKIND010\u003c\/span\u003e\u003c\/p\u003e","published_at":"2025-02-07T12:28:50+09:00","created_at":"2025-02-07T12:28:16+09:00","vendor":"Tobira Records","type":"","tags":["ambient","house","new","recommended","tape"],"price":259000,"price_min":259000,"price_max":259000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47108898554106,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Khotin \/\/ Hello World Khotin (10 YEAR ANNIVERSARY CASSETTE) TAPE","public_title":null,"options":["Default Title"],"price":259000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/0036377611_10.jpg?v=1720561013","\/\/tobirarecords.com\/cdn\/shop\/files\/0036377971_10.jpg?v=1720561012","\/\/tobirarecords.com\/cdn\/shop\/files\/0036377612_10.jpg?v=1720561015"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036377611_10.jpg?v=1720561013","options":["Title"],"media":[{"alt":null,"id":34514219139322,"position":1,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036377611_10.jpg?v=1720561013"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036377611_10.jpg?v=1720561013","width":1200},{"alt":null,"id":34514219073786,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036377971_10.jpg?v=1720561012"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036377971_10.jpg?v=1720561012","width":1200},{"alt":null,"id":34514219172090,"position":3,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036377612_10.jpg?v=1720561015"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036377612_10.jpg?v=1720561015","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp\u003eカナダ・エドモントンのハウス作家Khotinが、2024年7月にリリースした再発カセットです。（オリジナルは2014年リリース）\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eハードウェアによるアンビエント・ハウス〜ディープハウス8曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2958817317\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e----------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette in norelco case. Originally released on 1080p in 2014.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e1. Hello World 06:13\u003cbr\u003e2. Ghost Story 06:45\u003cbr\u003e3. Infinity Jam 06:05\u003cbr\u003e4. Flight Theme 04:24\u003cbr\u003e5. Everything Dub 06:46\u003cbr\u003e6. Mornings 04:18\u003cbr\u003e7. Nakhodka (ft. Via App) 04:38\u003cbr\u003e8. Why Don't We Talk 06:26 \u003c\/p\u003e\n\u003cp\u003e1080p:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003c\/em\u003e\u003cem\u003eLight, textural daydream house from Edmonton’s Dylan Khotin-Foote, whose debut 1080p release under the Khotin title lands in the middle of close, bedroom zones and more club-friendly grooves.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSince his initial moves towards house and techno genre experiments two years ago, Khotin has refined his unique slant on gentle acid and blurred yet effervescent hybrid house, with a stack of hardware: Roland TR-505, 606, 707, SH-101, Juno 106, Korg MS-10, Yamaha DX7, and various casio keyboards.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKhotin’s lightly dusted grooves are inflected with a bedroom pop sensibility as much as reverence for heavy techno greats, scattering samples over breezy house rhythms. Loose themes of flight and brightness coast in and out of each side (mixed live); loose house drifters like “Flight Theme” and title track “Hello World” float on gentle bongos and hi-hats and brightly hued melodies (that are consistently focal and catchy across the record) while darker techno heavy hitters like “Why Don’t We Talk” and “Infinity Jam” bring a distinct take on cosmic hardware vibes.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Khotin\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLabel : Khotin Industries\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCAT No : \u003cspan\u003eKIND010\u003c\/span\u003e\u003c\/p\u003e"}
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カナダ・エドモントンのハウス作家Khotinが、2024年7月にリリースした再発カセットです。（オリジナルは2014年リリース） ハードウェアによるアンビエント・ハウス〜ディープハウス8曲を収録。DLコード付属。 ---------------------- Includes DL code. Cassette in norelco case. Originally released on 1080p...
¥2,590
クイックビュー
{"id":8716136284410,"title":"Shabason \u0026 Krgovich \/\/ At Scaramouche TAPE","handle":"shabason-krgovich-at-scaramouche-tape","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan\u003eカナダのベッドルーム・\u003c\/span\u003e\u003cspan\u003eインディーポップデュオShabason \u0026amp; Krgovichが、2022年10月に同国インディーポップレーベルIdeé Fixe Recordsからリリースしたアルバムです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eポップというジャンルで取り上げられるロマンスや愛、失恋などは一切排除し、「仕事終わりの夕暮れの駐車場」や「営業時間外の看板の蛍光灯の光」、「古びたショッピングモールの見過ごされた切なさ」など、日常に潜む些細な事を豊かな情緒で捉え、やさしく手のひらで包み込み、そっと差し出す珠玉の9曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/tobirarecords.com\/products\/shabason-krgovich-sage-shabason-krgovich-sage-lpblack-color-tape\/\"\u003e最新作\u003c\/a\u003eもオススメです。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2585902156\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eIdeé Fixe Recordsその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/idfi\"\u003eこちら\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/idfi\"\u003ehere\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/idfi\"\u003e \u003c\/a\u003eto see more \u003cmeta charset=\"utf-8\"\u003eIdeé Fixe Records\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e releases available at Tobira. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette tape.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eThe musical partnership of Joseph Shabason and Nicholas Krgovich orbits around a shared center of earnestness, slice-of-life poeticism, and the subtle everyday banality that becomes beautiful, even absurd, under their slight redirection. Where 2020’s Philadelphia placed domestic interiors under a microscope, documenting the indoor minutiae society was forced to examine mid-pandemic, At Scaramouche steps out into the sunlight squinting groggily and happily at the new day ahead-- and particularly the night that follows. One evening after a recording session and some aimless ambling that included a visit to the house where the 1974 movie “Black Christmas” was filmed, Krgovich and fellow vocalist Chris A. Cummings found themselves misplaced at the Toronto restaurant from which At Scaramouche takes its name, gawking with amusement at its concocted air of luxury. “The layout hinted at its MCM glory, and there was a panoramic view of the city,” Krgovich illustrates, “but it was full mid 2000s, dated Sex In The City re-run decor, ‘opulence’ for rich people with bad taste. I loved it! Chris loved it!”. On At Scaramouche, Krgovich and Shabason demonstrate a mutually uncanny ability to transmute this kind of cultural wariness into amused majesty, poking fun and bowing in reverence all at once. Their spotless\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003esmooth-jazz tonality, lyrical literalism, and even cover artist Jake Longstreth’s humorously sober depiction of an actual old Taco Bell building all point to the duo’s low-key-gonzo subversion of Adult Contemporary tropes into something unexpectedly transcendent.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe first glassy keyboard hits of “Soli” indicate this sentiment before Krgovich even steps forward as the album’s host, and when he does, he immediately gets to work setting the scene of a weary parking lot stroll on a cool, street-lit evening after work-- just one of so many unremarkable moments that become utopic under Krgovich’s poetic care. “Clocking out at five PM, don’t give it another thought, feel the evening coming in,” he sings. “When it’s dark before supper, and the rain on the house… happy for no reason.” Glimmering pianos and brushy percussion calmly converse with fretless bass as a diffuse light spreads across this little world that’s being created. But where the duo’s previous effort Philadelphia would’ve camped permanently in the stillness, At Scaramouche lunges into the upbeat stroller “In the Middle of the Day”. Though no less exemplary of the album’s quiet everyday magic, it sets a brisker pace with its head-nodding drum break and coolly interjecting bassline. Other moments on the album reiterate the spryness, like the nearly-erratic “Soli II”, and the lively pop centerpiece “I Am So Happy With My Little Dog”. On the latter, Krgovich leads a tight-knit ensemble that comes as close to krautrock here as they ever might, where a driving drumbeat politely urges the elements forward; trumpet harmonies, chanting vocals, and bubbling synths, all crowned by a chorus-laden, perfectly askew solo from guitarist Thom Gill . “This record was very much a band effort. Me and Nick were at the helm but we called on the amazing crew of musicians that I play with here in Toronto to really help flesh things out,” Shabason emphasizes. “The last record was a real exercise in minimalism and quietness, and to me this record feels much more robust, and occasionally bombastic by comparison.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eJoseph Shabason grew up in small-town Ontario, throwing punk and emo shows in garages and church basements as an alternative to “playing hockey or doing drugs,” as he states it. At the same time Nicholas Krgovich was 4,000 kilometers away in Vancouver, BC living the kind of suburban life that can, by necessity, imbue someone with romanticism toward the things downtown-dwellers might not bat an eye at, like the fluorescent glow of commercial lighting after-hours, or the overlooked poignancy of a rundown strip mall, and all the many thousands of tiny commonplace miracles that At Scaramouche is made of. “Childhood McDonald’s gone, there used to be some woods there,” Krgovich hums prosaically over a bed of soft drum machine and Dorothea Paas’s soft supporting vocals. “The cemetery was small,” he elaborates while noticing just how far and how fast the past has receded, “now the high rises around the mall that aren’t done yet…” Where much nostalgia can slip down the slopes into something melancholy that puts the past on an impossible pedestal, album-ender “Drinks at Scaramouche” proves that Krgovich is just as in love with the present, allowing history and future to bring out the sacred in one another. “Finding all the little blips, in-betweens, now with deepening meaning,” he sings, “what little light goes slow, heartening to know that nothing really goes away.” Like so much that Shabason \u0026amp; Krgovich put their fingerprints on, At Scaramouche presents a familiar palette with just enough inflected weirdness to prompt double takes, turning folk art into outsider art with an almost imperceptible sleight of hand.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cspan class=\"bcTruncateMore\"\u003e.”\u003cbr\u003e- Idee Fixe Records\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Shabason \u0026amp; Krgovich\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIdeé Fixe Records\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCat No : IF038LP IF038CS\u003c\/span\u003e\u003c\/p\u003e","published_at":"2025-02-07T12:22:47+09:00","created_at":"2025-02-07T12:22:05+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","Ideé Fixe Records","lp","new","recommended","tape"],"price":228000,"price_min":228000,"price_max":228000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47108893835514,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Shabason \u0026 Krgovich \/\/ At Scaramouche TAPE","public_title":null,"options":["Default Title"],"price":228000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a0314757924_16_9e7de15c-4d43-4f91-b39a-ce884c05ece2.jpg?v=1686207680","\/\/tobirarecords.com\/cdn\/shop\/files\/0029483565_10_91529e94-56b4-4b75-b620-b5d535511fe2.jpg?v=1707602175"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0314757924_16_9e7de15c-4d43-4f91-b39a-ce884c05ece2.jpg?v=1686207680","options":["Title"],"media":[{"alt":null,"id":32091894153466,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0314757924_16_9e7de15c-4d43-4f91-b39a-ce884c05ece2.jpg?v=1686207680"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0314757924_16_9e7de15c-4d43-4f91-b39a-ce884c05ece2.jpg?v=1686207680","width":700},{"alt":null,"id":32091894251770,"position":2,"preview_image":{"aspect_ratio":1.556,"height":771,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0029483565_10_91529e94-56b4-4b75-b620-b5d535511fe2.jpg?v=1707602175"},"aspect_ratio":1.556,"height":771,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0029483565_10_91529e94-56b4-4b75-b620-b5d535511fe2.jpg?v=1707602175","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan\u003eカナダのベッドルーム・\u003c\/span\u003e\u003cspan\u003eインディーポップデュオShabason \u0026amp; Krgovichが、2022年10月に同国インディーポップレーベルIdeé Fixe Recordsからリリースしたアルバムです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eポップというジャンルで取り上げられるロマンスや愛、失恋などは一切排除し、「仕事終わりの夕暮れの駐車場」や「営業時間外の看板の蛍光灯の光」、「古びたショッピングモールの見過ごされた切なさ」など、日常に潜む些細な事を豊かな情緒で捉え、やさしく手のひらで包み込み、そっと差し出す珠玉の9曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/tobirarecords.com\/products\/shabason-krgovich-sage-shabason-krgovich-sage-lpblack-color-tape\/\"\u003e最新作\u003c\/a\u003eもオススメです。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2585902156\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eIdeé Fixe Recordsその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/idfi\"\u003eこちら\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/idfi\"\u003ehere\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/idfi\"\u003e \u003c\/a\u003eto see more \u003cmeta charset=\"utf-8\"\u003eIdeé Fixe Records\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e releases available at Tobira. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette tape.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eThe musical partnership of Joseph Shabason and Nicholas Krgovich orbits around a shared center of earnestness, slice-of-life poeticism, and the subtle everyday banality that becomes beautiful, even absurd, under their slight redirection. Where 2020’s Philadelphia placed domestic interiors under a microscope, documenting the indoor minutiae society was forced to examine mid-pandemic, At Scaramouche steps out into the sunlight squinting groggily and happily at the new day ahead-- and particularly the night that follows. One evening after a recording session and some aimless ambling that included a visit to the house where the 1974 movie “Black Christmas” was filmed, Krgovich and fellow vocalist Chris A. Cummings found themselves misplaced at the Toronto restaurant from which At Scaramouche takes its name, gawking with amusement at its concocted air of luxury. “The layout hinted at its MCM glory, and there was a panoramic view of the city,” Krgovich illustrates, “but it was full mid 2000s, dated Sex In The City re-run decor, ‘opulence’ for rich people with bad taste. I loved it! Chris loved it!”. On At Scaramouche, Krgovich and Shabason demonstrate a mutually uncanny ability to transmute this kind of cultural wariness into amused majesty, poking fun and bowing in reverence all at once. Their spotless\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003esmooth-jazz tonality, lyrical literalism, and even cover artist Jake Longstreth’s humorously sober depiction of an actual old Taco Bell building all point to the duo’s low-key-gonzo subversion of Adult Contemporary tropes into something unexpectedly transcendent.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe first glassy keyboard hits of “Soli” indicate this sentiment before Krgovich even steps forward as the album’s host, and when he does, he immediately gets to work setting the scene of a weary parking lot stroll on a cool, street-lit evening after work-- just one of so many unremarkable moments that become utopic under Krgovich’s poetic care. “Clocking out at five PM, don’t give it another thought, feel the evening coming in,” he sings. “When it’s dark before supper, and the rain on the house… happy for no reason.” Glimmering pianos and brushy percussion calmly converse with fretless bass as a diffuse light spreads across this little world that’s being created. But where the duo’s previous effort Philadelphia would’ve camped permanently in the stillness, At Scaramouche lunges into the upbeat stroller “In the Middle of the Day”. Though no less exemplary of the album’s quiet everyday magic, it sets a brisker pace with its head-nodding drum break and coolly interjecting bassline. Other moments on the album reiterate the spryness, like the nearly-erratic “Soli II”, and the lively pop centerpiece “I Am So Happy With My Little Dog”. On the latter, Krgovich leads a tight-knit ensemble that comes as close to krautrock here as they ever might, where a driving drumbeat politely urges the elements forward; trumpet harmonies, chanting vocals, and bubbling synths, all crowned by a chorus-laden, perfectly askew solo from guitarist Thom Gill . “This record was very much a band effort. Me and Nick were at the helm but we called on the amazing crew of musicians that I play with here in Toronto to really help flesh things out,” Shabason emphasizes. “The last record was a real exercise in minimalism and quietness, and to me this record feels much more robust, and occasionally bombastic by comparison.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eJoseph Shabason grew up in small-town Ontario, throwing punk and emo shows in garages and church basements as an alternative to “playing hockey or doing drugs,” as he states it. At the same time Nicholas Krgovich was 4,000 kilometers away in Vancouver, BC living the kind of suburban life that can, by necessity, imbue someone with romanticism toward the things downtown-dwellers might not bat an eye at, like the fluorescent glow of commercial lighting after-hours, or the overlooked poignancy of a rundown strip mall, and all the many thousands of tiny commonplace miracles that At Scaramouche is made of. “Childhood McDonald’s gone, there used to be some woods there,” Krgovich hums prosaically over a bed of soft drum machine and Dorothea Paas’s soft supporting vocals. “The cemetery was small,” he elaborates while noticing just how far and how fast the past has receded, “now the high rises around the mall that aren’t done yet…” Where much nostalgia can slip down the slopes into something melancholy that puts the past on an impossible pedestal, album-ender “Drinks at Scaramouche” proves that Krgovich is just as in love with the present, allowing history and future to bring out the sacred in one another. “Finding all the little blips, in-betweens, now with deepening meaning,” he sings, “what little light goes slow, heartening to know that nothing really goes away.” Like so much that Shabason \u0026amp; Krgovich put their fingerprints on, At Scaramouche presents a familiar palette with just enough inflected weirdness to prompt double takes, turning folk art into outsider art with an almost imperceptible sleight of hand.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cspan class=\"bcTruncateMore\"\u003e.”\u003cbr\u003e- Idee Fixe Records\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Shabason \u0026amp; Krgovich\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIdeé Fixe Records\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCat No : IF038LP IF038CS\u003c\/span\u003e\u003c\/p\u003e"}
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カナダのベッドルーム・インディーポップデュオShabason & Krgovichが、2022年10月に同国インディーポップレーベルIdeé Fixe Recordsからリリースしたアルバムです。 ポップというジャンルで取り上げられるロマンスや愛、失恋などは一切排除し、「仕事終わりの夕暮れの駐車場」や「営業時間外の看板の蛍光灯の光」、「古びたショッピングモールの見過ごされた切なさ」など、日常に潜む些細な事を豊かな情緒で捉え、やさしく手のひらで包み込み、そっと差し出す珠玉の9曲を収録。DLコード付属。 最新作もオススメです。 Ideé Fixe Recordsその他作品はこちら /// Click here to see more Ideé...
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{"id":8715950719226,"title":"Sam Gendel and Sam Wilkes \/\/ Music for Saxofone and Bass Guitar TAPE","handle":"sam-gendel-and-sam-wilkes-music-for-saxofone-and-bass-guitar-tape","description":"\u003cp\u003eアメリカ・LAのサックス奏者Sam GendelとベーシストSam Wilkesが、2023年5月にLAの老舗レーベルStones Throwからリリースした再発共作アルバムです。（オリジナルは2018年リリース）\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eグイグイと引き込むスピリチュアル・アンビエントジャズ7曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1319653439\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eレーベルその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more Leaving Records\/Stones Throw releases available at Tobira. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e---------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. 4th cassette edition of 500 copies.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBOA 05:48\u003c\/li\u003e\n\u003cli\u003eTHEEM AND VARIATIONS 03:34\u003c\/li\u003e\n\u003cli\u003eTRACK ONE 05:52\u003c\/li\u003e\n\u003cli\u003eGREETINGS TO IDRIS 05:10\u003c\/li\u003e\n\u003cli\u003eIRISH 05:26\u003c\/li\u003e\n\u003cli\u003eKIEFER NO MELODY 04:05\u003c\/li\u003e\n\u003cli\u003eYOULL NEVER GET TO HEAVEN 02:46\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eDescription by Leaving Records:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eMusic for Saxofone and Bass Guitar is a collection of recordings captured live on a Marantz PMD-720 4-Track Cassette Recorder at Mh Zh and Pacê between November 2017 - February 2018 in Los Angeles, CA\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Sam Gendel and Sam Wilkes\u003c\/p\u003e\n\u003cp\u003eLabel : Stones Throw\u003c\/p\u003e","published_at":"2025-02-07T07:15:40+09:00","created_at":"2025-02-07T07:14:13+09:00","vendor":"Tobira Records","type":"","tags":["hiphop \/ funk","jazz","leaving records","new","recommended","sam gendel","tape"],"price":238000,"price_min":238000,"price_max":238000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47108329865466,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Sam Gendel and Sam Wilkes \/\/ Music for Saxofone and Bass Guitar TAPE","public_title":null,"options":["Default Title"],"price":238000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/mu1_ec501cd3-ce0c-41aa-87e8-cecac5a3bc5f.jpg?v=1707873245","\/\/tobirarecords.com\/cdn\/shop\/files\/mbsa_6253cd3b-0b93-449f-b2b1-59b5d12793da.jpg?v=1707873245","\/\/tobirarecords.com\/cdn\/shop\/files\/mu_09d3e773-6c97-470a-b391-455a52506a96.jpg?v=1707873245"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/mu1_ec501cd3-ce0c-41aa-87e8-cecac5a3bc5f.jpg?v=1707873245","options":["Title"],"media":[{"alt":null,"id":33168142008570,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mu1_ec501cd3-ce0c-41aa-87e8-cecac5a3bc5f.jpg?v=1707873245"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mu1_ec501cd3-ce0c-41aa-87e8-cecac5a3bc5f.jpg?v=1707873245","width":700},{"alt":null,"id":33168142106874,"position":2,"preview_image":{"aspect_ratio":1.0,"height":500,"width":500,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mbsa_6253cd3b-0b93-449f-b2b1-59b5d12793da.jpg?v=1707873245"},"aspect_ratio":1.0,"height":500,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mbsa_6253cd3b-0b93-449f-b2b1-59b5d12793da.jpg?v=1707873245","width":500},{"alt":null,"id":33168142139642,"position":3,"preview_image":{"aspect_ratio":1.294,"height":927,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mu_09d3e773-6c97-470a-b391-455a52506a96.jpg?v=1707873245"},"aspect_ratio":1.294,"height":927,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mu_09d3e773-6c97-470a-b391-455a52506a96.jpg?v=1707873245","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・LAのサックス奏者Sam GendelとベーシストSam Wilkesが、2023年5月にLAの老舗レーベルStones Throwからリリースした再発共作アルバムです。（オリジナルは2018年リリース）\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eグイグイと引き込むスピリチュアル・アンビエントジャズ7曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1319653439\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eレーベルその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/leaving\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more Leaving Records\/Stones Throw releases available at Tobira. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e---------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. 4th cassette edition of 500 copies.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBOA 05:48\u003c\/li\u003e\n\u003cli\u003eTHEEM AND VARIATIONS 03:34\u003c\/li\u003e\n\u003cli\u003eTRACK ONE 05:52\u003c\/li\u003e\n\u003cli\u003eGREETINGS TO IDRIS 05:10\u003c\/li\u003e\n\u003cli\u003eIRISH 05:26\u003c\/li\u003e\n\u003cli\u003eKIEFER NO MELODY 04:05\u003c\/li\u003e\n\u003cli\u003eYOULL NEVER GET TO HEAVEN 02:46\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eDescription by Leaving Records:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eMusic for Saxofone and Bass Guitar is a collection of recordings captured live on a Marantz PMD-720 4-Track Cassette Recorder at Mh Zh and Pacê between November 2017 - February 2018 in Los Angeles, CA\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Sam Gendel and Sam Wilkes\u003c\/p\u003e\n\u003cp\u003eLabel : Stones Throw\u003c\/p\u003e"}
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