Steve Gadd was twenty-three, Tony Levin was twenty-two, and nobody had heard of either of them. 搜索輪次：12 組 query

Gap Mangione — Diana in the Autumn Wind

It took Be With Records twelve years to license this one. Gap Mangione — Chuck's older brother, though that biographical footnote sells him short — recorded this set of piano-and-organ-led jazz-funk in 1968, when his rhythm section consisted of a twenty-three-year-old drummer named Steve Gadd and a twenty-two-year-old bassist named Tony Levin. Neither had yet become the session musicians that a subsequent generation of producers would build entire records around. The grooves here are unhurried and deep, the kind of thing that hip-hop producers have been quietly sampling for decades. The reissue comes with a deluxe tip-on sleeve and a two-page insert featuring Gap's own reminiscences and rare photographs. Be With Records 花了整整十二年才從 Gap Mangione 本人手上拿到這張 1968 年錄音的授權。Gap 是 Chuck Mangione 的哥哥，但這個身份不重要。重要的是這張唱片的節奏組：鼓手 Steve Gadd 當時二十三歲，貝斯手 Tony Levin 二十二歲，都是無名的 session 樂手。Gap 的鋼琴和風琴帶著一股不急不躁的放克律動，被嘻哈製作人偷偷取樣了幾十年。再版附 Gap 親撰回憶錄和珍貴照片，tip-on 封套。

Tokyo Pulse — Various Artists

DJ Notoya's second compilation for Wewantsounds after Tokyo Bliss goes deeper into the Tokyo underground, assembling nine tracks recorded between 1974 and 1988 — most of which have never been released outside Japan. This is not another city pop primer; the selection ranges from Yumi Murata's crystalline funk to Chikara Ueda & The Power Station's muscular grooves, with detours through reggae, electro, and jazz-inflected pop. Mastered from original Nippon Columbia tapes in Tokyo, cut for vinyl by Colorsound in Paris. 東京 DJ Notoya 繼 Tokyo Bliss 之後的第二彈選輯。九首曲目跨越 1974 到 1988 年的東京場景，多數從未在日本以外發行。這不是又一張 city pop 入門包——選曲從村田有美的 funk 到上田力 & The Power Station 的硬核律動，中間穿插 reggae 和 electro。Nippon Columbia 原始母帶在東京重新 mastering，巴黎 Colorsound 做黑膠 remaster。比「city pop」這個標籤暗示的要野得多。

Noriki (Soichi Noriki) — Noriki

Pianist Soichi Noriki's 1983 debut, recorded after stints alongside Toshiyuki Honda and Tatsuro Yamashita, is one of those Japanese fusion records that collectors have traded at eye-watering prices for years. The sound sits at a particular intersection — more pop-aware than Weather Report, more harmonically adventurous than standard AOR — and two vocal tracks featuring Yurie Kokubu give it an unmistakable city pop sheen. Light in the Attic's clear sky blue vinyl pressing is the first time this has been officially available in color. 鋼琴手 Soichi Noriki 1983 年的同名處女作。跟本多俊之和山下達郎合作之後自組樂團，做出一種比 Weather Report 流行、比一般 AOR 有底子的 fusion。兩首人聲曲目由國分友裡惠演唱，city pop 光澤瞬間上身。這張一直是日本 fusion 二手市場的天價品，Light in the Attic 的透明天藍彩膠是第一次正式彩膠版。

Bonner Kramer & Thurston Moore — They Came Like Swallows

Subtitled "Seven Requiems for the Children of Gaza," this is the first full-length collaboration between Thurston Moore and Shimmy-Disc founder Kramer — now going by Bonner Kramer — despite a friendship spanning four decades. The seven pieces move through landscapes of outsider rock, avant-garde composition, and progressive ambient with a deliberateness that suggests neither artist was in any hurry to reach a resolution. A portion of proceeds goes to World Central Kitchen. It is not an easy listen, and it does not intend to be. 副標題「Seven Requiems for the Children of Gaza」。Sonic Youth 的 Thurston Moore 和 Shimmy-Disc 廠牌創辦人 Kramer（現名 Bonner Kramer）認識了四十年，這是他們第一次合作完成一整張專輯。七首安魂曲從 outsider rock 滑入前衛作曲，再沉入 progressive ambient，像一部沒有畫面的紀錄片。部分收益捐贈 World Central Kitchen。不是一張容易消化的唱片。

Wesenyeleh Mebreku — Resonance of Time

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Volition Immanent — Too Late

Parrish Smith and Mark Knekelhuis return after eight years of silence with a record shaped, fittingly, by stretches of silence. Written and recorded in Amsterdam, Too Late drifts through spoken word, fractured chords, and psychedelic textures with the unhurried pace of someone who has decided that arriving is less important than the act of moving. If the patience of early Burial or the temporal distortions of The Caretaker appeal to you, this deserves a quiet evening. Parrish Smith 和 Mark Knekelhuis 在阿姆斯特丹錄製，Volition Immanent 沉寂八年後的第二張。spoken word 片段、碎裂和絃、迷幻紋理——整張唱片像是一場不急著到達任何地方的緩慢反思。如果你喜歡 The Caretaker 或 Burial 那種「時間感被拉扯」的質地，這張值得耐心聽完。

face of ancient gallery — Like Kites

Jeremy Mock — guitarist for bloodsports, People I Love, and Wesley Wolffe — returns with the second album under his solo project, recorded at home during the winter and spring of 2025. His sister Sofia contributes harmonies across several tracks. The nine songs are spare and unhurried, built on delicate fingerpicking and murmured melodies that Glide Magazine aptly described as "sparse and poetic." None exceed four minutes; the whole record feels like a slim, handwritten chapbook. bloodsports 和 People I Love 的吉他手 Jeremy Mock 個人企劃第二張。2025 年冬春在家中錄製，姐姐 Sofia 多首和聲。精簡的吉他指法、低語般的旋律吟唱，Glide Magazine 用「sparse & poetic」形容。八首歌沒有一首超過四分鐘，像一本薄薄的手寫詩集。