2000s 226 Items

limited edition

Repress von 2020

Aya Matsuura's 3rd album "x3" will be made into the long-awaited first analog record! From "Ne~e?", which became a hot topic in the FT Shiseido commercial, to "GGood bye Natsuo," a momentary number about saying goodbye to the man you fell in love with in the summer, to "The Last Night," a ballad sung full of emotion, all songs have appeared on the Oricon charts. Contains 3 singles that reached the top 3. Also includes Matsuura's version of "Get Up! Rapper" and "High Tuned Mix" of "Yeah! Meccha Holiday"! Teppan's third album is packed with plenty of her charm.

This work includes big hit singles that challenge a wide range of sounds, from "Momoiro Kataomoi" to the big hit "Yeah! Meccha Holiday", the cool "The Bigaku", and "Sougen no Hito" with impressive lyrics by Hibari Misora. A super masterpiece including.

Loverboy was released in the middle of Ariel Pink’s prolific run of albums as Ariel Pink’s Haunted Graffiti. Written and recorded between October 2001 and July 2002 (a creative burst during which House Arrest was also conceived), Loverboy is a wonderfully warped portrait of Ariel’s musical world building. On Loverboy, Ariel Pink conjures some of his most memorable melodies and intricate arrangements under the spell of his trusted 8-track cassette recorder. This definitive version of Loverboy was transferred from the original tapes, expanded with unheard tracks, and remastered as part of Ariel Archives, Mexican Summer’s reissue series which revisits Ariel Pink’s Haunted Graffiti catalogue with new editions of out-of-print releases.

Remastered and back on vinyl for the first time since being released by Mute in 2005. Tapete rearranged the tracklist together with Andreas Dorau. With production by Justus Köhncke, Marcus Rossknecht and more.

produced by Mark Ronson & Salaam Remi ... The Brit Awards say britains best female artist ... finally on vinyl!

Singer-songwriter Amos Lee draws inspiration from soul music, contemporary jazz and 1970s folk artists such as James Taylor. The Philadelphia native honed his songwriting skills while waiting tables and bartending after graduating from the University of South Carolina with a degree in English. He eventually landed some high-profile gigs as an opening act, including an extended tour with pianist/vocalist Norah Jones, whose bassist, Lee Alexander, agreed to produce Lee's first album.
With Alexander's help, Amos Lee released his self-titled debut on Blue Note in 2005. The album won Lee a small following for his blend of acoustic funk, folk, and light jazz. Norah Jones herself plays the piano on two tracks; "Keep It Loose, Keep It Tight" and "Colors".
A notable debut like Amos Lee deserves the Analogue Productions reissue treatment. This beauty was cut by Bernie Grundman in Los Angeles from the master tape, and is now pressed at 45rpm on two glorious sides of 200-gram vinyl by Quality Record Pressings, makers of the world's finest-sounding LPs. QRP is noted for deep-black backgrounds and pristine clarity. If you're already familiar with Amos Lee, get ready — you've never experienced it with such lifelike sonics and premium richness. This is how all vinyl should sound.
The songs on the album incorporate themes of folk, soul, gospel and jazz. Amos's style is a mix of Bill Withers, Arthur Lee, and James Taylor. Amos has recently toured with Bob Dylan, Paul Simon, Elvis Costello, Van Morrison, Adele, Dave Matthews and many others.

Eager to prove their songwriting smarts and knowledge of traditionalist pop on their sophomore work, French band Air pulled back slightly from the milky synth pop of their 1998 debut, Moon Safari. 10,000 Hz Legend is a darker work, just as contemplative and unhurried as its predecessor, but part of a gradual move from drifting, almost pastoral melancholia to a downright post-modern helplessness in league with Radiohead. Air are still tremendously effective producers, and have actually expanded their palate with a surprising array of pop instrumentation (acoustic guitars, flutes, pianos, a harmonica, harps, and many strings) to file alongside the countless trilling synthesizers and machine sequencers. The two lead-off tracks, "Electronic Performers" and "How Does It Make You Feel," are breathtaking productions that exploit the same robot-weariness tendencies that made "Sexy Boy" (from Moon Safari) an alternative hit. Still, those detached retro-vocoder treatments sound so much more passé in 2001 than when the duo first tried them out in 1996. Jason Falkner and Beck, a pair of equally hardworking slacker-pop icons, appear (respectively) on the next two tracks, the tongue-in-cheek single "Radio #1" and an excellent morning-after jam named "The Vagabond." Again, the production is stellar, but these find Air stranded between art rock and pop, caught in the trap of trying to make great pop music yet never sounding particularly studied or concerned about it. Falkner pops up again on "Lucky and Unhappy" and "People in the City," a pair of album standouts that subvert any pop inclinations with a raft of bridges and breakdowns among the layers of production. "Wonder Milky Bitch" is another precisely studied track, a haze of lunar-desert synth pop directly evocative of country-pop classicist Lee Hazlewood, and "Radian" brings Air back to the instrumental textures of their early work. Fans and involved listeners are definitely rewarded with increased dividends after multiple listens, but even they may wish for an album that harked back to the simpler days of the Premiers Symptomes EP and Moon Safari. - AllMusic.com