• Hiroshi Kawaguchi’s original 1987 After Burner II soundtrack released on purple 2xLP

    By | May 8, 2018

    Featuring the prolific Japanese composer alongside the Sega Sound Team Band.

    The original eighties soundtrack for Sega video game After Burner II is being reissued on double vinyl for the first time, this May via Data Discs.

    Read more: Vinyl Fantasy: How limited edition records are taking video game soundtracks to the next level

    The score was created by Japanese composer and keyboardist Hiroshi “Hiro” Kawaguchi, a veteran of Sega’s sound team who has been working with the video game company since the 1980s.

    Kawaguchi was also a member of the Sega Sound Team Band, the company’s in-house band from 1988 – 1983 responsible for creating “rock versions” of its arcade games for festivals and albums, which became known as the sound unit [H.] – and is still active today.

    Remastered for this first ever vinyl release outside of Japan, the After Burner II 2xLP features its complete arcade score and a “Melody Version” of the title track.

    The second disc includes three versions by the SST Band,  as well as a “keyboard and brass infused” medley from the sound unit.

    Pre-order a copy of After Burner II here ahead of its 17th May release, listen to clips from the arcade score, and check out the track list below.

    Tracklist

    Arcade Versions

    Side A

    A1. Maximum Power
    A2. Final Take Off
    A3. After Burner
    A4. City 202

    Side B

    B1. Red Out
    B2. Super Stripe
    B3. After Burner (Melody Version)

    Arranged Versions

    Side C

    C1. Final Take Off (S.S.T. Band, 1988)
    C2. After Burner (S.S.T. Band, 1988)

    Side D

    D1. Maximum Power & Red Out (S.S.T. Band, 1988)
    D2. After Burner Medley (SEGA Sound Unit [H.], 2007)

  • The 10 most collectable records of 2015

    By | November 30, 2015

    We begin our end of year review with a look at the 10 most collectable records of 2015.

    Over the next two weeks we’ll be looking back at the year in vinyl, from the best artwork to the most important reissues, the strongest 7″s to the most complete LPs. As we did last year, we’re starting things off with something a little less clean-cut. Here, more than in any other list, it’s important to set out our terms.

    There are many factors which make a record collectable, and many reasons why those factors will mean more or less to every individual (just take a look at our number one…) The first thing to say is that rather than rank these releases as a definitive list, we’re taking each as an opportunity to discuss a different aspect of what we deem to be collectable, and by extension, valuable.

    The most ostentatious mark of value is, of course, monetary. Given that we’re dealing with this year’s new releases and reissues, the time period in which a record can accrue value is relatively short, so any increase should be treated accordingly. While some records will look to artificially create value through limited runs or extravagant packaging, others will simply go up in value through a combination of quality and demand. The most desirable Record Store Day releases are a good example of the former, Arca’s self-released 12″ which topped last year’s list, a good example of the latter. In every case, an inflated re-sale price tag can only tell you so much.

    Collectability can also be defined in terms of the desirability of an individual object for a specific fan base; a record that acts as a trophy or fills some unassailable void (like Ringo’s No. 0000001 copy of the White Album). By the same token, rather than looking at records as totems, collectability can also be seen in terms of series, where a completed set represents more than the sum of its parts.

    Being confined to the last twelve months, we’ve also taken into account some more timely trends (perhaps most strikingly where vinyl is concerned with video game soundtracks), nodding to the movements which have seen a revival of interest among DJs, and elevating the artists who have helped define them. There is really no point discussing collectable records in a vacuum.

    One final word before we start. The records we’ve picked below are subjectively collectable, a list of ten releases we believe to retain some intrinsic value. In doing this, we have sought to keep these choices as accessible as possible, opting (for the most-part) against high-end box sets in favour of ten records with ten unique stories to tell.


    Catch up on all our end of year lists:

    The 50 best vinyl LPs of 2015
    The 30 best vinyl reissues of 2015
    The 20 best 12″s of 2015
    The 20 best 7″s of 2015
    The 20 best record sleeves of 2015
    The Year in vinyl tech
    The 10 best vinyl soundtracks of 2015


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    10. Ragnar Kjartansson / The National

    A Lot Of Sorrow

    (4AD)

    If a pragmatist gauges collectability by monetary value – both on release and secondary markets – then, pragmatically speaking, A Lot Of Sorrow isn’t especially collectable. Retailed at £120, it’s not worth an awful lot more six months on, especially in relative terms. But concept can be as alluring as capitalism, and it’s on qualitative grounds that A Lot Of Sorrow scores points.

    The recording captures the collaboration between Icelandic artist Ragnar Kjartansson and The National, who teamed up in 2013 to play the track ‘Sorrow’ repeatedly and continuously for six hours at MoMA. The marathon concert interrogated the potential for repetition to produce “sculptural presence within sound”.

    The release echoes that concept on vinyl – with ‘Sorrow’ pressed down 99 times, across nine, clear, identically packaged LPs; all housed within a functional acrylic box. Like Trevor Jackson’s FORMAT, A Lot Of Sorrow follows the archival turn in contemporary art but through near-laughable obsessiveness it pushes object fetishisation one step further.


    FrameShot4 copy

    9. Christian Marclay / Various Artists

    Live at White Cube

    (The Vinyl Factory / White Cube)

    Thereʼs nothing more collectable than a series, particularly when every sleeve has been hand-screen printed to designs by Christian Marclay. Released in conjunction with the artistʼs solo show at White Cube earlier this year, the series features performances from the worldʼs leading experimental musicians cut direct to disc in the gallery and pressed in editions of 300. Our mobile pressing plant, The VF Press was on hand to produce the records, which are among the first to have ever been pressed live in a gallery.

    Collectable in so far as youʼll need all fifteen to complete the series, here are records you could witness being performed and pressed for free before purchase. OK, we’re a little biased but weʼve included this series to highlight that collectable need not mean prohibitive expense nor outlandish novelty.

    Documents of a process of experimentation and improvisation, a number of specific releases also stand out, notably Thurston Mooreʼs collaboration with Christian Marclay, which rekindles a creative partnership first forged in the spaces of downtown NYCʼs no wave scene in the early ʻ80s and has sold for £70 since.

    And far from an anachronistic practice, the setʼs emphasis on contemporary music also sees Mica Leviʼs return to composition after her score to Jonathan Glazerʼs Under The Skin won a BAFTA at the start of the year, and Ryoji Ikeda collaborate with Marclay on the final 12” of the series. The VF Press was also in operation at Barbican for Doug Aitken’s Station To Station where Savages, Nozinja and Giogrio Moroder were produced in a similar fashion.


    R-6764716-1426154877-9947.jpeg

    8. Rupture

    Israel Suite / Dominate En Bel

    (Digger’s Digest, French Attack)

    This year’s lavish reissue of holy grail vocal jazz fusion album Israel Suite / Dominate En Bel is an instant collector’s item. Recorded in France in ’73, but never commercially released, the original has held a mythical position for over four decades. No one knows how many copies were originally made, but you can bet your needles it’s less than 100 – which goes some way to explain why a first pressing has never traded on Discogs and why dealers push four digits for it.

    The reissue, a joint production from Digger’s Digest and French Attack, brought this rare groove masterpiece back within reach, but with just 500 released, it sold in a flash. With demand still far outweighing supplying, and no sign of a repress, this one’s a wise investment.

    Other reissue collectables this year include Mariah’s absurdly cult album Utakata No Hibi, and ‘Disco Shitan’, a super rare Italian cosmic disco banger from the ‘70s. We also reckon Athens Of The North’s 100 copy reissue of soul burner ‘Thousand Years/Party Time’ has the makings of a rarity, just like the revered father pressing.


    shit and shine2

    7. Shit & Shine

    Chakinʼ

    (Rock Is Hell Records)

    Craig Clouse rarely does things by the book. Following Shit & Shineʼs stellar showing in 2014’s top 100 records list, this yearʼs contribution comes in the form of five differently coloured, hand-printed editions of Chakinʼ, which originally appearedon just 250 cassette tapes. As collectable as those are is, weʼre here to talk about the vinyl, and why Chakinʼ is a perfect example of how hand-crafted anomalies can be both collactable in themselves and relative to the market.

    Not shackled by round numbers, there are 407 copies of Chakinʼ out there, each with variously different sleeve patterns. Hereʼs the breakdown: Green background print, limited to 149 copies. Green/Grey background print, limited to 3 copies. Green/Yellow background print, limited to 8 copies. Grey background print, limited to 99 copies. Yellow background print, limited to 148 copies.

    While ‘Green/grey’ is obviously the combination to covet, the concept is charmingly shambolic, somewhat random and wonderfully egalitarian. While weʼre not suggesting Shit & Shine super-fans are going to go out and complete the set, this kind of variation lends an intrinsic value to each individual object. Needless to say, the record is also heisse scheisse, and the kind of thing that should sky-rocket when S&S finally get the credit they deserve.


    Chimurenga-800x800

    6. Chiwoniso

    Zvichapera

    (Nyami Nyami)

    French label Nyami Nyami debuted earlier this year with the final recording of late Zimbabwean singer and mbira player Chiwoniso Maraire who sadly died aged 38, at the peak of her career. Weeks before she passed, Chiwoniso stopped by a studio in Harare where she and fellow musician Jacob Mafuleni, captured an enchanting, stripped-down take of ‘Zvichapera’ – a song popularised by Thomas Mapfumo.

    “It was one of the most emotionally intense sessions I’ve ever experienced,” writes Nyami Nyami label head Antoine Rajon in the record’s liner notes.

    The swan song, remix from her brother Tendai Marare (one half of Shabazz Palaces) and silk screened artwork all make for a fitting and beautiful testament to the artist. Totting up those elements and a limited run of 350, we’re taking a punt that Zvichapera will mature into a sought-after item.


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    5. David Wise

    Battletoads (‘Dark Queen’ edition)

    (Iam8bit)

    Digital composers of the ‘90s introduced teens to trippy and daring electronic music while they mindlessly bashed buttons on the NES and Sega Megadrive. It might have been background noise then, but it’s a digging treasure trove in 2015.

    Right up there is David Wise’s glitchy soundtrack – featuring the best pause screen music ever – for the impossibly difficult 8-bit beat’em up Battletoads. Iam8bit pressed up the soundtrack in a limited batch of 300 and sold it exclusively at the San Diego Comic Con back in July. That ‘Dark Queen’ gatefold variant – which plays music when you open it (like a massive birthday card) – now attracts three digits on second hand markets. It’s since been repressed without frills in a generous run of 3000.

    Other gaming collectables this year include Yozo Koshiro’s incredible Streets Of Rage score on Data Discs, Minecraft on Ghostly, Mondo’s reissue of the The Last Of Us, and Super Mario by Koji Kondo on 7”.


    tame impala_currents ltd

    4. Tame Impala

    Currents (Limited / numbered edition + prints)

    (Fiction Records, Interscope records)

    One of the yearʼs heavyweight releases and a collectable record in the traditional sense of the word. While loads of releases will throw in a limited edition run with a print or some kind of extra, these only occasionally become truly collectable. Hereʼs how Currents hit that sweet spot. This edition of was sold exclusively online through Get Music in Australia; it features five individually numbered lenticular prints of the album cover and the singles that preceded it; the appetite and size of the bandʼs following (over a million on Facebook alone) dwarfs its five hundred-copy run.
    
    While all these factors create fertile conditions for collectability, thereʼs one simple fact which has elevated Currents in this instance and pushed its value up ten-fold to between £200 and £300 on the re-sale market, and itʼs perhaps the simplest and most over-looked of all. Currents is a damn good record with emphatic artwork that delivers for Tame Impala fans on every level, and this run is the ultimate trophy edition. No wonder 500 was never going to be enough.


    Len Leise edits

    3. Len Leise

    Edits 001

    (Len Leise Edits)

    One place where value and rarity tends to stay constant is on the international balearic underground. Not so much a genre as a state of mind (once defined simply as anything that came out of Daniele Baldelliʼs record bag a little slower than intended), this brand of cosmic, afro-infused downtempo dance music has played a major role in 2015, both in the glut of reissues weʼve seen from labels like Music For Memory and Emotional Response but also in new music pushed by the likes of Stump Valley and, of course Len Leise.

    A relative enigma, here is an example of a year making a man. Culminating in his first LP Lingua Franca released on International Feel and a stunning afro-dance mix for us, 2015 began with the quiet release of Edits 001 in a run of 150 hand-numbered copies. Doing the rounds in no time, these two tracks sent the price of this 12” spiralling – a modern balearic rarity for a scene of seasoned collectors and DJs experienced enough to have a accrued a fair bit of disposable income.

    Such is the appetite for new music in the scene, and such is the international flavour of its cognoscenti – from Growing Bin in Hamburg to Music From Memory in Amsterdam and Claremont 56 in London – this 12” is a great example of the workings of a global online community in action. There may be a repress in the wind, but for a self-released 12” from an unknown artist to push £70 (itʼs never sold for less than £40) on Discogs is quite something. And if Lingua Franca charts well this winter, you know where those figures are heading.


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    2. PM

    Sweet Thrash

    (Paul McCartney Self-Released)

    The tide somewhat turned on Record Store Day this year, with labels, consumers, even record shops, knocking the annual festival. There’s a feeling (amongst some) that majors have co-opted the event: clogging pressing plants with pointless and novelty reissues – that are then turned out on eBay for dizzying profit.

    In the thick of it is this ‘secret’, self-released Paul McCartney record, with two previously unreleased mixes of ‘Hope For The Future’. Pressed as hand scrawled white labels only, selected shops in the UK and US received a single copy and were instructed to quietly file it away. No prior advertising, nor was it listed with the rest of the RSD releases; presumably the idea was that genuine fans riffling Beatles’ racks would find the record, rather than grasping market flippers.

    But with only 100 copies pressed down, it’s become risibly sought-after and inevitably invited three figure sums on Discogs and eBay alike. One fan even splashed £865 on it. Perhaps the insert card with details of how to download a ‘3D printable Paul’ figurine was one temptation too far. Easily one of most valuable records of the year (in price gain at least), completist McCartney fans can visit Discogs to fight over a copy. That’ll be $1,500 please.


    lee scratch perry - i am paint

    1. Residence La Revolution (Richard Russell & Lee ‘Scratch’ Perry)

    I Am Paint

    (RLR)

    Buying records can be an awfully passive affair. The simplicity with which you can access records online is both liberating and a little worrying. The period of contemplation between desiring a record and buying it is often brief, card details typed in and confirmation sent before youʼve had a chance to ask yourself whether you really wanted it. Sometimes, the answer would have been no, had there been any more resistance along the way.

    Thereʼs a little more activity involved in getting hold of rare records, particularly new releases (although Warp last year put pay to that by entering collectors into a ballot for new limited edition of Syro). None however, have required such active participation as Richard Russell and Lee ‘Scratch’ Perryʼs I Am Paint, where prospective ʻbuyersʼ were tasked with creating something of equatable value to be bartered for a copy of the record.

    Beyond the fact that the record itself was limited to two hundred and fifty uniquely (and literally) hand and foot-painted sleeves by Lee ‘Scratch’ Perry, the project has spawned a series of unique artworks that are more or less collectable in their own right.

    Profiled on Richard Russellʼs tumblr, some of the most creative barters include a 3D printed teapot, a painted brick proclaiming itself as ‘I Am Stone’ and our personal favourite from Lee Waller, who first sent a letter suggesting he trade his own birthday for a copy, only to have his attempt denied for not having ʻmadeʼ his own birthday. Resubmitting both his letter and XLʼs response as a single image seems to have done the trick.

    An original, generous and endearing project that turns the concept of value, monetary or otherwise, on its head, itʼs been impossible to look beyond ʻI Am Paintʼ for this list. Thankfully, there isnʼt a single one up for re-sale on Discogs, making it not only the most collectable record of the year, but one with which those who own it may never want to part.


    Illustration by Hector Plimmer

  • David Wise’s classic Battletoads soundtrack will be reissued on vinyl

    By | July 10, 2015

    Originally published on FACT

    David Wise’s classic video game score gets an exclusive vinyl release.

    You may have noticed while playing Rare’s infamously difficult NES-classic Battletoads that if you took the time to breath in between all those screams of frustration it had some of the best music of the era. That was due to David Wise who used the game as a chance to show his incredible compositional chops and would later go on to create some of the best video game music of all time (His work on the Donkey Kong Country series almost singlehandedly inspired Ryan Hemsworth’s career).

    Now the soundtrack has been pressed to green vinyl by Iam8bit and will be available to buy at Comic Con San Diego which starts today. In addition to the Battletoads-green color of the vinyl it comes with some pretty amazing artwork you can find below.

    Battletoads-2

    Battletoads

  • “The Mortal Kombat soundtrack almost sounds like Chick Corea”; Thundercat picks 5 influential records

    By | July 9, 2013

    thundercat

    Astral bassist and Flying Lotus cohort Thundercat makes sense of the “complete and utter confusion” that is his record collection and picks the 5 albums that influenced his latest release Apocalypse.

    It takes a particularly head-strong cat – in the jazz sense of the word – to compare the Mortal Kombat soundtrack to Chick Corea’s Elektric Band. The thing is, Stephen “Thundercat” Bruner exists so far outside the contemporary jazz establishment it’s not a sentiment that even crosses his mind. A modern virtuoso who ducked out of school to tour with fusion bassist Stanley Clarke and hardcore veterans Suicidal Tendencies, Thundercat’s natural inclination is to stray from the path (while playing in Snoop Dogg’s band he was once asked “Can you make your bass sound like more of a bass?”).

    Surrounded by a family of musicians – both father and brother are acclaimed drummers – Bruner’s childhood was split between stringent bass workouts and downtime on the Sega Genesis; a formative influence on his music that will have tech-phobic parents around the world squirming. Hooking up with Flying Lotus and the Brainfeeder crew for extended sonic/Sonic sessions, Thundercat landed on his feet on the wildly ambitious free jazz/astral pop record Cosmogramma, spawning a collaboration that has seen the LA artist and nephew of Alice Coltrane produce both of Thundercat’s solo records; 2011’s The Golden Age of Apocalypse, and now, simply Apocalypse.

    Immersing himself with like-minded artists from the new wave of Afro-futurists – Erykah Badu, Sa-Ra Creative Partnership, Georgia Anne Muldrow – Thundercat now has his place in the contemporary scene, but, by his own admission has yet to really scratch the surface of the grander scheme into which he fits; “My collection of music just started going into the 80’s now so I’m still way behind trying to figure stuff out” he says, speaking on the phone from Ninja Tune HQ in the middle of his hectic European tour.

    Asked whether he’s reached this point by moving forwards or backwards through the 20th century, he jokes that he’s “starting in the 70’s and moving outwards in a complete and utter confusion”, picking up “Slipknot’s album and then Inner Urge by Joe Henderson and then maybe Chaka Khan and then I’ll try and find Street Fighter.” It may be a free-for-all but Bruner connects the dots with something deeper than just an era or genre. “I feel like they’re all on the same wavelength – is this a certain mindedness I guess. It feels like the proper word would be jazz-minded.”

    While Apocalypse is an album that captures this restless curiosity, it’s also one made under the very real strain of loss following the untimely death of close friend and keyboardist Austin Peralta whose memory drifts in and out of focus over all twelve tracks. Breaking down a record so thick in personal and musical experience, Thundercat talks us through five records that were big for him during the making of Apocalypse.


    mortal Kombat

    Mortal Kombat soundtrack
    (Sega Genesis)
    Virgin Records, 1994

    It’s kinda hard to say this is an album because it’s also a video game soundtrack. The Mortal Kombat soundtrack was one of the soundtracks I was listening to while I was recording, and it’s kind of funny because some of the Mortal Kombat music is actually pretty advanced. It almost sounds like the Chick Corea Elektric Band.

    I’ve also been listening to Sonic The Hedgehog from one of my favourite composers Masato Nakamura. I don’t know how to describe it man, I guess some of the video game music when I was younger just stood out to me. Sometimes you never know what someone’s paying attention to until it translates into something. Video game music would be one of those things for me.

    I remember on a few occasions I would start the game just to listen to the music and if I liked the music from the level I would hope that I could get back to that level because you couldn’t save the video game back then, you just had to play straight through and get as far as you can get. I still listen to it now and I’m probably always going to listen to it because it’s just so melodic.

    Listen HERE.


    stanley-clarke

    Stanley Clarke
    Stanley Clarke
    Nemperor Records, 1974

    I was also listening to Stanley Clark’s first album – the self-titled one with “Vulcan Princess” and “Yesterday’s Princess”. I look at Stanley Clark as a sort of predecessor and I wouldn’t exist if I didn’t know about Stanley Clark like that. I look at him also like an uncle and I’m always around him now too. I remember playing my first album for him and he was like “this isn’t just a bass player’s album” and he reminded me of how Quincy Jones used to do albums where it’s like you couldn’t tell where things were coming from. I just appreciated him not saying it was terrible – like “This album sucks, man you should kill yourself” – I’m pretty happy he didn’t say that!

    Listen HERE.


    mode for joe

    Joe Henderson
    Mode for Joe / Power To The People
    Blue Note, 1966 / Milestone, 1969

    Oh man, Joe Henderson’s Mode for Joe and as well as that Power to the People, they’re two of my favourite albums. To be honest with you jazz is such a free state, especially when it’s not being held back by any type of stigma or what it’s supposed to be. It’s one of those things that if you can just leave that open, you don’t blockade yourself from going somewhere and that’s kinda felt like what I was trying to do with this last album.

    I also enjoy not being able to pinpoint where we’re going to go on stage, it’s just nice to know that the cats that are there are with me. It changes all the time and I appreciate that more than anything.

    Listen HERE.


    Raydio

    Ray Parker & Raydio
    Raydio
    Arista, 1978

    I also want to say Ray Parker and Raydio. I started listening to Ray Parker a little while ago and I remember picking up the Raydio stuff while hanging around with Erykah [Badu] and with Rashad ‘Tumblin Dice’ Smith and you know Rashad would hit me the records, he’d always be trying to play me something real quick and he’d cut it off and I’d be like “what was that?”. He kinda hit me with Ray Parker’s music, more than I already had an understanding of and just kinda fell in love with Ray Parker’s music, he does really really great stuff.

    Listen HERE.


    Flying-Lotus-Cosmogramma

    Flying Lotus
    Cosmogramma
    Warp Records, 2010

    Another album would be of course by my good buddy Flying Lotus. I’m always listening to him. It’s kind of like a consistent backdrop. I’d be listening to Reset EP, I’d be listening to Cosmogramma, looking back a little bit you know. Cosmogramma was such an interesting experience and for me, it’s just about trying to remember the sights and sounds and things that were going on when that was building. Hearing Cosmogramma and hearing “Mmhmmm” and hearing “Dance of the Pseudo Nymph” – the processing behind that was almost the same as for this album. This album is actually a little harder for me to listen to because of the things that have been attached to it, but every once in a while I try to sit down and listen through.

    It’s an interesting process, all the things that took place. Every time I hear it [Apocalypse] it’s like a big mental picture book for me. It was very painful, and still is. There’s not a lot I can really say about it. It’s just one of those things that you kinda grow from you know.

    Listen HERE.


    Thundercat will be performing live at XOYO on Wednesday 10th July (the show previously scheduled for York Hall on the 13th) where he’ll be supported by Throwing Snow and Brainfeeder buddy Lapalux. Click here for more info.

    Apocalypse is out now on Brainfeeder and is available fromNinja Tune.

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