Lupin The 3rd’s Synthesizer Fantasy

November 22nd, 2015

I think I’ve made it abundantly clear over the years that I enjoy buying really stupid records for no apparent reason other than the fact that I find them really funny.

Those are just some samples, dig deep into the “Complete Albums” category if you’re in the mood for some completely random nonsense (many of those posts’ MP3s are still active because I don’t think anyone is going to sue me over any of that idiocy).

Living in Japan has afforded me a whole new opportunity to find weird and wonderful (and wonderfully stupid) obscurities. Just a few weeks ago I shared a track from the Street Fighter: The Movie soundtrack, and now here I am about to write about an all-synthesizer compilation of Lupin the 3rd theme music.

Lost Turntable: Because If I don’t who will.



Lupin the 3rd Synthesizer Fantasy

I totally bought this for laughs and thought it would be a fun goof. While I love me Moog and/or synthesizer covers records, I’ve soured on them slightly over the years because so many of them are boring and usually nothing more than obvious cash grabs.

So for me to buy one now it really has to stand out. Or, in the case of this record, cost me less than five bucks.

Not a big investment, so I took the risk. And guess what? This record is fucking rad! Seriously, even if you don’t have any interest in Lupin at all (and if you don’t what the fuck is wrong with you, Lupin is dope), you need to check this one out.

This album came out in 1984, and as such it’s actually a pretty impressive considering that was still fairly early in the history of the all-digital synthesizer. The linear notes don’t mention specifically what type of synthesizer was used in the creation of this album, but if I had to guess I would say it was composed using a Synclavier, and probably one similar to the one used by Frank Zappa for Jazz From Hell. It certainly has that vibe, and even shares some of the sound effects found on that record (which I really recommend for synthesizer enthusiasts.

If I had to describe the sound of this record I would say it’s probably half Super Famicom video game music (those steel drums!), one-third background music for 80s commercials, and one-sixth (I think that math checks out) cheesy 80s pop music. Parts of it makes me think of Level 42’s “Something About You” although that comparison might be a little off-base.

(Unrelated: I just discovered I have an eight-minute remix of that song on my computer for some reason. So guess what I’m listening to right this minute.)

So yeah, it’s a bit on the cheesy side of the synth-spectrum. But it’s authentic, perfectly aged cheese like a nice gouda. I appreciate the real cheese. Fuck fake cheese.

This reminds me, and I’m sorry to go off on a tangent here, today I was in a cool little indie record store and they were playing this song by Aussie artist Kirin J. Callinan, and my god that’s the kind of shit that pisses me off the most. Look at those assholes. They think they’re better than the music they’re playing. An insult to a genre and time of music that had more influence and lasting appeal than anything they’ll ever try to force upon the public.

Fuck that and fuck them. Don’t discount an entire style of music just because it’s old and hasn’t aged entirely well. We’re 10 years removed from Arcade Fire’s first LP, and who’s to say? Maybe in ten more years people will be making ironic baroque-pop videos spoofing their style. And they’ll be inauthentic boring assholes too.

I wrote a whole thing about this. It’s an issue for me.

Anyways, where was I? Oh yeah, synthesized covers of Lupin themes.

You can tell this record was made with sincerity. You can also tell, with it’s incredibly narrow focus and probably small target market, that it was definitely a product of Japan’s bubble economy.

The album was performed by Osamu Shoji. Apparently he started out in the 70s creating original electronic albums that appear to be very much like Tomita and other synthesizer performers of the era. But then he branched out into the covers arena, first releasing an all-synth Bee Gees album (HOLY SHIT) and then a synth/disco take on Star Wars.

I need to find that album.

Anyways, he really went into high gear with the synth cover albums in the mid-80s with the”Synthesizer Fantasy” series. In addition to Lupin, he also released all-synth versions of themes to animes such as Vifam, Gundam and Orguss. Additionally, he composed the original score to the acclaimed (and hyper-fucked up) anime Wicked City. The soundtrack of that was actually just re-released on vinyl by Tiger Lab.

Nearest I can tell, he’s still kicking it. Although he hasn’t released a new record in over 20 years. I definitely need to track down more of his work though, if this album is any indication it must be pretty damn great.

Sighing to Prog Rock and Writing About Blondie

November 17th, 2015

I have nothing to say in regards to recent events that I feel like sharing with anyone aside from this: when faced with crippling dread and/or anxiety related to world suffering I find that prog rock helps.

I recommend Yes’s third album. It’s a good one.

I wish I had prog rock to share with you tonight, but instead some post-new wave disco remixes and Japanese covers of German techno will have to do.

Good Boys (Giorgio Moroder Extended Short)
Good Boys (Giorgio Moroder Single Mix)
Good Boys (Scissor Sisters’ Gyad Byas Myax Mix Extended)
Good Boys (Scissor Sisters’ Gyad Byas Myax Ya Mix)
Good Boys (A1 People Full Version)
These are remixes of a track from Curse Of Blondie, the Blondie album nobody bought. I include myself in that royal nobody, so I can’t comment on the quality of said record. “Good Boys” is a pretty dope track, and the Moroder remixes really channel the frantic and dark energy of their classic “Call Me.” It’s no “Call Me,” obviously, and the weird Queen-esque rap is a bit out of place, but it’s still pretty good.

I don’t know what the fuck “extended short” means in terms of remixes though. That’s not a thing, Blondie, don’t say that!

Yellow Magic Orchestra
If you’ve been reading my massive all-encompassing review of YMO’s work, you’d know that this song opens their most recent live album, No Nukes 2012. It’s a good live album, but the only thing that makes it stand out at all is this somber and haunting cover of the classic Kraftwerk tune, which I feel that YMO have made their own with this fantastic take on it. I hope one day that I get to hear YMO perform live in person. Takahashi has a new studio album coming out this year so hopefully I’ll at least get to see him sometime soon.

Ice Cube Hates Brandon Lee

November 14th, 2015

Just one song tonight. But don’t worry! It’s really bad.

Ice Cube
Street Fighter
One of the only things that bums me out about living in Japan is that it’s a little harder for me to find weird 12″ singles. That was my bread and butter in the states, but they’re not as common here. And when I do manage to find them, they tend to be insanely overpriced. That Neil Young single I featured a few days ago? That was almost 20 bucks. That would’ve been no more than five bucks in the states, but I guess that’s the (literal) price you pay for living on an island nation that has to import most of its used vinyl.

While Japan doesn’t seem to be a fan of the 12″ single, it is thankfully more than a fan of the needless soundtrack. Since coming here I’ve scored original (not expensive modern reproduction) soundtracks to Phantasm, Xtro, Prom Night, the Knight Rider TV show and even the little-seen Australian kung fu flick The Man From Hong Kong.

A few weeks ago I got really lucky and scored a copy of the soundtrack to Street Fighter.

Street Fighter: The Movie.

On vinyl.

Yeah, so I bought that.

Spoiler: it’s fucking HORRIBLE. Nas and The Pharcyde aside, it’s mostly second-rate hip-hop and new jack swing by artists who were nearing the end of their relevance (Chuck D and LL Cool J) or by nobodies who thankfully vanished without a trace (The B.U.M.S., Rally Ral).

Oh, and Deion Sanders with MC Hammer. Because 90s.

It’s shit. And not even fun shit. It’s boring, forgettable shit from a nearly forgotten era of pop music. Not even worth talking about. Except, for this, the title track by one Ice Cube. Now, don’t get me wrong, it’s shit too. But it’s shit in the most wondrous ways.

This is a boasting track, with Ice laying down rhymes about what a bad motherfucker he is. Usually, that’s quality material for an Ice Cube track. He is a bad motherfucker, after all. But Ice is a bad motherfucker when he’s talking about dealing drugs and drive-bys. He is not a bad motherfucker when he talks about his marital arts prowess. Who the fuck does he think he is, Wu-Tang?

Some choice lines:

“At the Japanese deli fo’ my troop.
And we all take malt liquor, in our wonton soup.
Oops as I smell my fork.
It smells like sweet’n’sour pork.”

Japanese deli. Wonton soup. Sweet ‘n’ sour pork.

Repeat after me, Ice, Japan and China are different countries with different cultures and cuisines.

He also talks about eating burgers with chopsticks, drinking 40s of sake and offing dudes with poison darts. But to be honest the culturally confused lyrics aren’t the worst offenders here. No, it’s when Ice calls out individual martial artists. At one point he straight up says “I want to kill Chuck Norris” before dropping a line targeting Jean Claude Van Damme that is sadly censored (probably because the movie featured Jean in the starring role).

Neither of those lines can hold a “what the fuck” candle to this though.

“Many black belts wanna try and snatch the pebble.
From the mas-ter, but I’m much fas-ter.
Just ask Bruce Lee.
Him, and Brandon died, befo’ I can who-ride.”

So, unless I’m mistaken, Ice just claimed that he could’ve laid waste to Bruce Lee had he been given the chance, and not only that, but that his son Brandon was actually lucky to have died before Ice had the chance to fuck him up.

This was 1994. Brandon Lee died the year prior.

Man, Ice that’s some fucked up shit.

International New Wave: Unexplored – A Compilation of New Zealand Recordings

November 3rd, 2015


Things I know about New Zealand:

And sadly, I’d venture to say that I know more about the tiny island country than most. Let’s be honest, New Zealand is mostly known for…not being Australia. And that’s too bad, because I’ve recently discovered that a hell of a lot of great rock has come out of kiwi country, far more than enough to make up for “How Bizarre.”

From what I’ve read about New Zealand rock music, it seemed to have really hit its stride in the early 80s, and even grew enough to have cultivated it’s own scene dubbed the “Dunedin Sound,” an indie/jangle pop sound with a lo-fi bent. If the Wiki is anything to be trusted (and why not), the Dunedin Sound was a direct influence on R.E.M., Pavement and Mudhoney. Those bands, of course, laid much of the groundwork for what became the indie rock sound of the late-80s and early-90s, which in turn became the alternative rock sound of the mid-90s that absolutely dominated the cultural landscape for a few brief and wonderful years. I don’t know if it’s fair to say that without the Dunedin Sound we wouldn’t have had Nirvana, but it probably didn’t hurt.

In the world of New Zealand indie-rock, the big record label was/is Flying Nun. From what I can tell, if any Americans in the 80s and 90s were exposed to any New Zealand rock at all, it was because of that label and its efforts to promote their acts overseas via compilation albums. The first of these compilations was Tuatara, and it came to the US via the indie label Strange Weekend in 1985.

But Flying Nun weren’t the only label in town (which amazes me, because I thought there only 28 people in New Zealand), and Strange Weekend must’ve thought those other labels had talent worth promoting because just a year after the release of Tuatara they put out Unexplored, which focused more on even smaller labels from the small country.

Most of the acts on Unexplored were on Propeller Records, a label that was mostly known for it’s post-punk bands. The label apparently quite well-regarded at the time, but it didn’t last long. In fact, by the time Unexplored came out, Propeller had already shuttered. Its founder, Simon Grigg, went on to run a couple high-profile concert venues in the country before giving it another go with a second record label called Huh! Records. One of their first releases was the debut album by OMC. Which just fucking figures.

I thought I’d be able to connect OMC to this record if I tried hard enough, but I didn’t expect I’d be able to do it so easily and with so few degrees of separation.

But let’s not hold OMC against him (and honestly, OMC were better than “How Bizarre”) because if this album is any indication, he discovered some downright amazing talent during Propeller Records’ short time, and it’s a pity that most of it has been lost to the ages.

Lot of highlights here, pretty much every song on this album is worth a listen. It all really reminds me of the post-punk Liverpool scene of the late 70s. If you dig on Echo And The Bunnymen, Joy Division, The Sound and Comsat Angels, then you’ll probably eat this stuff up big time.

Complete tracklisting (download link)

  1. Marsha – Blam Blam Blam
  2. Falling – Johnny Bongo
  3. Scarred – Car Crash Set
  4. Dancing With Stars In My Eyes – Screaming Meemees
  5. Grey Rooms – Sonya Waters
  6. Auckland Tonight – The Androidss
  7. Queen St. – The Posonbys D.C.’s
  8. Conversation With A Machine – Big Sideways
  9. I Like To Drive – Scott Calhoun
  10. Strange Weekend – Martial Law

Last Minute Halloween Music Post

November 1st, 2015

It’s still Halloween for a few more hours in some time zones so it’s not too late to post this!




Henry Manfredini
Introduction To Horror
Excerpts In Terror
Moments Of Madness
It turns out that Friday The 13th soundtracks are weird.

While the original Friday The 13th was an immediate sensation the moment it was first released in 1980, at the time the film’s original score (in many ways the best thing about the movie) did not receive an official release. Neither did the score for the 1981 sequel.

It wasn’t until the release of the third movie in 1982 (man, they really banged these suckers out back then) that the film’s iconic score got a release. But that release wasn’t the score for the third film, instead it was a strange compilation that featured the opening credits theme for the first film (which is a disco number) followed by three cuts that combine highlights of the scores from the previous films and the new one.

In 2012, when La La Land Records began releasing the Friday The 13th scores on CD, they glossed over this release and instead gave the third album a proper soundtrack release. That album does include the opening title credits music, so I’m not including that one here. However, it does forgo these strange “greatest hits” cuts, so I thought I’d share them tonight.

Happy Halloween!

Neil Young’s Dance Remixes

October 30th, 2015

I hope I’m not the only person who finds tonight’s music interesting.

Neil Young
Sample And Hold (Dance Remix)
Sample And Hold (Single Version)
Sample And Hold (LP Version)
Mr. Soul (Dance Remix)
You have no idea how happy I was to find this single.

Quick backstory (which I’ve covered multiple times here). In 1982 Neil Young released Trans. It was a radical departure for him, abandoning the rock style he was known and acclaimed for and replacing it with a strongly electronic/synthpop sound. Not only that, many of the songs found Young experimenting with a vocoder, which distorted his voice to near unrecognizable levels at times (as someone who has never been a fan of Young’s voice, I don’t consider this to be a bad thing).

It’s a brave, crazy and entirely original record (with a few amazing “traditional sounding” Young tracks too), but it was a massive bomb both critically and commercially. It also wound up being the first in a series of intentionally obtuse and experimental albums that led to Young being sued by his label at the time for releasing music that was too uncommerical.

The album was out of print forever. I even shared the entire thing here twice. But now it’s back in print digitally and I highly recommend buying it. The version on digital storefronts is the CD version, which is remixed and significantly altered when compared to the original LP mix.

I don’t know which came first, the CD mix or these single mixes for “Sample And Hold” and “Mr. Soul,” but it’s obvious that one influenced the other. All the changes that are present on these mixes are also present on the CD version. The guitars are muted, the cymbals are removed, and the beat is punched up to the front of the mix. Both just feel substantially more “electronic” in about every way you can imagine. The CD version of “Sample And Hold” is still the best though, largely because it’s a ridiculous eight minutes long.

Seriously, buy Trans. That album is nuts.


Prince’s Purple Sci-Fi Fantasy

October 18th, 2015

Ever have one of those nights where you’re sitting in a Japanese fast food curry shop in a suit with a pink tie, contemplating the significance of your life and the things you hold dear when you suddenly discover that the best-selling album of 1989 was Bobby Brown’s Don’t Be Cruel and that fact forces you to doubt everything you ever thought you knew about how you view the world?

No? Just me? Okay then.

Space (Universal Love Radio Remix)
Space (Universal Love Remix)
Space (Funky Stuff Remix)
Space (Acoustic Remix)
Space (Funky Stuff Dub)
Prince never fills me with doubt. He just fills me with funk. Okay, that came out wrong.

Space was a single off of the Come album, and I would be lying to you if I claimed to know anything about that record outside of what’s on the Wikipedia page. I really need to expand my Prince knowledge. I only own Purple Rain, 1999, a greatest hits and a shitload of singles. I’ve also bought his three most recent albums, two of which (PLECTRUMELCTRUM and HitnRun) are actually really fucking great. I recommend them.

This song is good. We need more intergalactic funk.

Liv Warfield
The Unexpected (Live At Blue Note Tokyo)
Speaking of Prince, Liv Warfield is a Prince protege. You can tell because the cover to her latest album, the amazing The Unexpected, has a purple tinge to it.

Seriously though, Liv is an amazingly powerful singer, and the fact that she’s failed to breakthrough at all is downright criminal. “The Unexpected” is an incredible tune (written by Prince), and this live version taken from the Japanese release of her album really showcases how damn amazing her voice is.

And if this track sounds familiar to you, it’s because Prince recorded his own version for the previously mentioned PLECTRUMELCTRUM album. His version is called “Wow,” which is funny as the chorus of the song is “you can call it the unexpected or you can call it wow.”

I guess she chose to call it unexpected. He chose to call it wow.

I Dream of Swiss/Japanese Synth-Pop Collaborations That Will Never Be

October 13th, 2015

I’m drinking from a tiny bottle of whiskey, which makes me feel even more giant than I already am. One day I’m just going to get wasted and walk around Tokyo whilst vocalizing the Godzilla theme.

Wait, I think that already happened.

Anyway, hey Halloween is coming up! And I actually have some spooky scary songs planned so stay tuned for that. In the meantime, here’s some synth-pop and hip-hop.

Depeche Mode
Suffer Well (Tiga Dub)
According to my relatively in-depth and well-organized cataloging system, I haven’t posted a Depeche Mode track on this site for over two years. That blows my mind. Used to be that this site could’ve been named “That MP3 Blog that Posts Erasure, Depeche Mode and New Order.” Eventually it just got hard to keep that up as A) Depeche Mode finally started releasing their old remixes digitally and B) Look, you seriously have no clue how much Depeche Mode I posted. It was a lot. Seriously.

I still have some honest-to-goodness rare Mode on this hard drive somewhere, maybe someday I’ll get around to posting it. This remix is from a 12″ single. It’s got a good beat.

Sir Mix-A-Lot
One Time’s Got No Case (Bass Mix)
One Time’s Got No Case (Instrumental)
I bought this last year when I was visiting my mom in Oregon. I think 90% of all Sir Mix-A-Lot records currently in circulation can be found in the Pacific Northwest. I like to imagine that Mix-A-Lot himself hawks some off to second-hand shops whenever he’s short on cash. Of course, that’s probably not often right now thanks to the mad “Anaconda” bucks he has to be pulling in.

I really hate that song. But the last time I ranted about that I got called a sexist racist. So let’s move on and discuss Swiss electronic music.

Live At The Roxy  N.Y. Dec ’83
I’m going to be real and admit that I know absolutely nothing about this. My knowledge of Yello is limited almost entirely to “Oh Yeah,” because even I can’t know everything about every electronic act from the early 80s. I’m sorry. Maybe once I’m done exhuming forgotten Japanese 80s music I’ll move onto Europe. I assume this is some sort of medley, but I really couldn’t tell you. It’s fucking weird though, I can say that much.

I really like it. Shit, does this mean I have to start buying Yello albums?

Hey did anyone ever do a Yellow Magic Orchestra/Yellow mash-up? The could’ve called it Yello Magic Orchestra. This shit writes itself. Someone combine “Behind The Mask” with “Oh Yeah.”

The Moog Strikes Bach

September 27th, 2015

Wrote some whiny self-indulgent stuff on the other site. Go check it if you’re interested.


Hans Wurman – Moog Strikes Bach (Complete Album Download)
I’ve often shared Moog covers albums, and I think it’s something I’ll continue to do until I stop finding weird Moog covers albums.

There seem to be hundreds of these out there, many of which were released in the years immediately following the surprise runaway success of Wendy Carlos’ Switched On Bach.

At first taste, Moog Strikes Bach would appear to be an exceptionally derivative example of this trend. Shit, it even has Bach in the title. And while this album does owe the entirety of its existence to Hooked On Bach, there’s actually a lot to like here.

For starters, it’s not really a collection of Bach pieces, despite what the title says. There’s only one Bach composition on here. The majority of the album is actually Mozart, but I guess they couldn’t come up with a “funny” pun with his name. The Mozart stuff is good, but of all the tracks on this record I really prefer some of the less covered ground. This is the first Moog album I’ve come across that has interpretations of Prokofieff and Rachmaninoff on it, so it gets points for originality if nothing else. Also the “Variations on Paganini” track is a 10 minute banger that features some really crazy and out-there synth work that I feel was a little bit ahead of its time.

I tried to dig up some information on Hans Wurman, but I could only gather the odd bits and pieces. He was a composer and pianist, but I don’t think he ever released anything of his own commercially. But he did love him the Moog. In addition to this record he released a Moog cover of “Carmen” and a collection of Chopin Moog covers as well.

He’s also credited as an engineer and performer on a few other Moog releases as part of the Electronic Concept Orchestra. I actually own two of their releases, Moog Groove and Electric Love, and while both feature some truly amazing covers, I can’t really recommend them.

Outside of that, I can’t find much on him aside from a pair of credits at the IMDB, including one for a horror movie called Bog about a giant gilled monster. Gonna have to dig that one up.

Like I said, this is a pretty great record, and a big step up from the typical rip-off rush job Moog records that were coming out at the time, especially in the classical market. Get your Moog on and give it a go.

Another Post With Synthpop From Two Different Continents

September 19th, 2015

Been busy! Mostly the good busy! And I wrote a lot of shit on my other site. I finished my guide to YMO’s albums, which took me far too long so I hope you all read it, share it and enjoy it. Then I did a write-up on the Mario Anniversary Celebration that I went to. I still haven’t seen much English language coverage of that, so if you know anyone who would be interested in reading such an article please pass it along to them. Same goes for my review of the Mario Anniversary music CD.

Basically, I’m asking you all to read my shit and pass my shit along to others who might enjoy it and do the same. Because sometimes validation via readership feels nice.

Lots of music tonight! Shit, lots of words tonight!

Masquerade (Extended Version)
Like Flames (Extended Version)
Dancing In Berlin (Dance Remix)
You Don’t Know (Extended Remix)
The Metro (Remix)
No More Words (Dance Remix)
These are all of the Dancing In Berlin remix EP, which only came out in Japan. And if you think that the only reason that I moved to Japan was so that I’d have a chance of finding rare out-of-print CDs like this in budget racks for less than five bucks you’d be…not entirely off mark.

Seriously though, I was pretty excited to come across this one today. I already had most of these tracks as vinyl rips, but most of them were still kind of scratchy despite my best efforts to clean them up. And these remixes of “Masquerade” and “Like Flames” are entirely new to me.

If you’re reading this blog then you’re probably in agreement with me that Berlin is totally one of the best bands of the 80s. If you’re not, well then, why the hell are you reading this blog? All their albums are good, even Information, which doesn’t feature Terri Nunn. I’m partial to the last “classic” album Count Three & Pray though, thanks largely to the inclusion of “Pink And Velvet” which is an achingly beautiful tragic ballad about junkies that just happens to feature one of the best guitar solos that David Gilmour (yes, that David Gilmour) ever put on wax.

That album also features Ted Nugent. So if you want to stump your friends on trivia night with “What album features David Gilmour and Ted Nugent?” then you’re welcome.

By the by, I didn’t include the extended version of “Sex (I’m A…)” because you can get that on the CD and digital editions of Pleasure Victim.

Akiko Yano
Tong Poo
Tong Poo (Welcome To Jupiter Version)
Tong Poo (Naked Jupiter Version)
Zai Kung Tong Boy (在広東少年) (Original Version)
Zai Kung Tong Boy (在広東少年) (Tobashite Yukuyo Version)
Zai Kung Tong Boy (在広東少年) (Live Version with Ryuicihi Sakamoto)
Akiko Yano is a pianist singer-songwriter who came to prominence in Japan during the 80s due to her relationship with YMO (which was more than professional, she was married to Ryuichi Sakamoto for a bit). I put some of her stuff on here ages ago, including the first version of “Tong Poo” that I’m including here again tonight.

The other two version of “Tong Poo” (which I keep typing as “Tony Poo” for some reason) are new. I mean that literally, they’re on her new album, Welcome To Jupiter, which just came out this week. I know I usually don’t post music you can get legally but I do realize that the overwhelming majority of you all reading this don’t live in Japan, so your options for picking this up by legal means are relatively limited. Because record companies don’t understand how digital distribution works.

The Welcome To Jupiter version is an interesting take that combines acoustic instruments with some oddball electronic sound effects. I don’t know if I like everything it does (but waterdrop sound effect is a bit much) but I do appreciate its eccentricity. The “Naked Jupiter” version is an instrumental that’s included as a bonus version of the deluxe edition of the album.

“Zai Kung Tong Boy” is a great song with a really interesting lineage. It was written by Sakamoto and included on Yano’s album Dinner Is Waiting, which was co-produced by Sakamoto as well and features contributions with the rest of YMO. The song was also frequently performed live during YMO concerts, with Yano still on vocals as she was one of their touring keyboardists at the time. It was apparently also performed often at Sakamoto solo shows. The second version is taken from one such show, included as a bonus track on a Sakmoto box set I purchased last year. This version is over seven minutes long and features some SICK shredding.

The final version was taken from Yano’s 2014 album  Tobashite Yukuyo, which featured Yano working with several prominent Japanese producers (a trend she repeats on Welcome To Jupiter). In this case, the producer is Yoshinori Sunahara, formerly of Denki Groove, who has also done remix work for Cornelius and Yukihiro Takahashi of YMO. That same album also features a collaboration with Boom Boom Satellites, and I’ll try to share that sometime soon.