In the post World War II era, Germany and Japan had to go through major reconstruction while getting their economy back on it’s feet. Life after WWII was the backdrop for the birth of amazing arts, and musical movements. Out of these movements we get a German band like Kraftwerk, and in Japan we get Yellow Magic Orchestra (YMO).
In this particular piece we travel back in history, and then speed ahead into the future, to discover Yellow Magic Orchestra’s legacy as pioneers in electronic music. By exploring the experimental, and avant-garde arts (which were banned under Nazi Germany), German artists began reflecting the realities of the new German industrial environment. Out of this came Kraftwerk, whose cold and robotic sounds try to capture life in post WWII Germany. Kraftwerk was also a reaction to German folk pop, a sound promoted by the state and media during that time.
Dissenters considered it too vapid and reminiscent of Nazi nationalist propaganda. Meanwhile in Japan, you had artists who tried to capture life after becoming the only country in human history to experience the devastation of nuclear bombs. Japanese artists also explored experimental, and avant-garde arts, but they tried to fuse Japanese folk art with modern art. At this time emerging Japanese artists didn’t want to replicate European styles of art, they looked to create art that was unique to Japan. You can see this in the dance form Butoh, which has elements of classical Japanese dance mixed with modern Japanese avant-garde styles. Butoh’s visuals and movements, the white makeup, grotesque imagery, slow hyper-controlled motion, freedom of movement or non movement, can be interpreted as a reflection of the psychic trauma experienced during and after WWII.
Out of this movement came the band Yellow Magic Orchestra. But unlike Kraftwerk, they didn’t reject popular music, rather they set out to be unique by blending different styles of music (traditional Japanese, Western, and electronic music), and in the end influenced popular music. YMO popularized a style of live performance that incorporated more electronic equipment such as rhythm boxes, synthesizers, and samplers. Unlike Kraftwerk’s more minimal and robotic style of music, YMO preferred a more melodic, joyous, and airy style. YMO’s influences reached far and wide, which included genres such as the New Romantics, synth-pop, Techno, Ambient House, Acid House, Hip-Hop, J-Pop, and video game music. YMO influenced New Romantics artists from Duran Duran to the band Japan, whose drummer Steve Jansen was influenced by YMO’s drummer Yukihiro Takahashi, and lead singer David Sylvian was influenced by YMO’s Ryuichi Sakamoto (they eventually collaborated).
Many artists have covered YMO’s “Kimi ni Mune Kyun”, most notably on Human League’s collaboration YMO Versus The Human League EP. Techno pioneers Juan Atkins, Kevin Saunderson, and Derrick May have cited YMO as an important influence on their work alongside Kraftwerk. YMO’s “Technopolis” is said to have been an influence on Detroit Techno and Juan Atkins’ band, Cybotron. YMO’s “Computer Games” is said to have been an influence on Sheffield, England’s style of Techno, heard on tracks like Sweet Exorcist’s “Testone” (1990) which uses a “Computer Games” sample but mixed with film dialogue from Close Encounters of the Third Kind (1977). Ambient House pioneers The Orb, 808 State, Ultramarine, and Orbital have also been influenced by YMO, releasing a tribute remix album Yellow Magic Orchestra: Hi-Tech/No Crime (1993).
YMO’s first reunion in the early 90s produced the album Technodon (1993) which can be seen as influential to the sounds of Techno, Ambient House, and Acid House in the 90s. YMO’s usage of electronic instruments were influential in the 80s, this can be heard from 80s British synth-pop artists such as Ultravox, John Foxx, Gary Numan, Duran Duran, Depeche Mode Camouflage, OMD, The Human League, Visage, and Art of Noise. Early Hip-Hop artist were also inspired to sample YMO’s electronic sounds. “Firecracker” was sampled by Afrika Bambaataa in Death Mix. Besides Kraftwerk, Afrika Bambaataa’s “Planet Rock” also drew inspiration from YMO’s music.
. Website Members.
Yellow Magic Orchestra ( YMO) is a Japanese band formed in Tokyo in 1978 by (bass, keyboards, vocals), (drums, lead vocals) and (keyboards, vocals). Together, they are considered influential in the field of popular electronic music. Each of its members were veterans of the music industry before coming together as YMO. Initially, Hosono formed the band as a one-off exploration of computerized, paying tribute to performers such as and while also parodying Western conceptions of the. Over the course of their career, the group continued to experiment with new technologies, fusing them with classic pop forms, and indulging in sociopolitical, technological, or musical subversion.
For their early studio albums and live performances, the band was often accompanied by music programmer. Emerging at a time when such technologies were seen as novelties, YMO were pioneers in their use of synthesizers, computers, and technology in popular music. Recognized for their 'pro-technological viewpoint', their use of and, and for heavily with computers and, the band effectively anticipated the global trend towards drum machines and, as well as the ' boom' of the 1980s. Contents.
History 1976–1978: Early years and formation Prior to the group's formation, Sakamoto had been experimenting with at the, which he entered in 1970, including synthesizers such as the, and. Hosono, following the break-up of his band in 1972, became involved in the recording of several early records, including 's album (1973) and 's album Benzaiten (1974), both of which utilized synthesizers, electric guitars, electric bass, and in the latter, and. Also around the same time, the band's future 'fourth member' was the assistant for the internationally successful electronic musician. Much of the methods and techniques developed by both Tomita and Matsutake during the early 1970s would later be employed by Yellow Magic Orchestra.
Sakamoto first worked with Hosono as a member of his live band in 1976, while recruited Sakamoto to produce his debut solo recording in 1977 following the split of the. Hosono invited both to work on his -flavoured album, which included produced using various electronic equipment.
The band was named 'Harry Hosono and the Yellow Magic Band' as a satire of Japan's obsession with at the time, and in late 1977 they began recording Paraiso, which was released in 1978. The three worked together again for the 1978 album Pacific, which included an early version of the song 'Cosmic Surfin'.
Hosono and Sakamoto also worked together alongside in early 1978 for Hosono's experimental 'electro-exotica' album Cochin Moon, which fused electronic music with, including an early 'synth ' song 'Hum Ghar Sajan'. The same year, Sakamoto released his own solo album, experimenting with a similar fusion between electronic music and in early 1978. Hosono also contributed to one of Sakamoto's songs, 'Thousand Knives', in the album. Thousand Knives was also notable for its early use of the -based, with Matsutake as its for the album. While Sakamoto was working on Thousand Knives, Hosono began formulating the idea of a disco instrumental band which could have the potential to reach success in non-Japanese-language territories, and invited of and of as participants, but they declined. Hosono, Sakamoto and Takahashi eventually collaborated again to form the Yellow Magic Orchestra and they began recording their self-titled album at a studio in July 1978.
The band was initially conceived as a one-off studio project by Hosono, the other two members being recruited session musicians—the idea was to produce an album fusing orientalist with modern electronics, as a of and. 1978–1983: National and international success The band's 1978 self-titled album was successful and the studio project grew into a fully fledged touring band and career for its three members. The album featured the use of computer technology (along with synthesizers) which, according to, allowed the group to create a new sound that was not possible until then. Following the release of the album Yellow Magic Orchestra, a live date at the Roppongi Pit Inn was seen by executives of A&M Records of the USA who were in the process of setting up a partnership deal with Alfa Records. This led to the YMO being offered an international deal, at which point (early 1979) the three members decided the group would be given priority over their solo careers.
The most popular international hit from the album was 'Firecracker', which would be released as a single the following year and again as 'Computer Game', which became a success in the United States and Europe. Following an advertising deal with, the group sparked a boom in the popularity of electronic pop music, called ' in Japan, where they had an effect similar to that of and in 1960s Britain. For some time, YMO was the most popular band in Japan. Successful solo act (later married to Sakamoto) joined the band for its live performances in the late 1970s and early 1980s, but did not participate in the studio recordings. On the other hand, the YMO trio contributed to her own albums and became part of her live band, during these same years. Legendary English guitarist, who had disbanded and to more recently explore himself, likewise played on YMO's Naughty Boys (1983), its non-vocals variant Naughty Boys Instrumental (1984) and subsequent solo Yukihiro Takahashi projects, before featuring the latter on two of Nelson's own UK based releases. Making abundant use of new synthesizers, computers and digital recording technology as it became available, as well as utilizing -ish lyrics sung mostly in English, they extended their popularity and influence beyond Japan.
'Rydeen' drew from, specifically the of a running. It was often sampled in early and. Problems playing this file? See., released in 1979, was YMO's pinnacle recording in Japan, winning the 1980 Best Album Award in the. It featured English lyrics by, whose sci-fi themes often depicted a human condition alienated by dystopic futures, much like the emerging movement in fiction at that time.
One of the album's major singles, and one of the band's biggest international hits, was ', which YMO had first produced in 1978 for a commercial, and then for Solid State Survivor with lyrics penned. The song was later revised by, who added new lyrics and has intended to include it in his album. Despite the approval of songwriter Sakamoto and lyricist, it was eventually removed from the album due to legal issues with YMO's management.
Jackson's version was never released until his first posthumous album, though his additional lyrics were included in later cover versions of the song by, and himself in his 1986 solo release Media Bahn Live. Solid State Survivor included several early computerized songs, including a mechanized of ' by the Beatles.
Their second album Solid State Survivor went on to sell over 2 million records worldwide. By 1980, YMO had become the most popular group in Japan, where they were performing to sold out crowds. Their first live album set a record in Japan, topping the charts and selling 250,000 copies within two weeks, while their next studio album had 200,000 pre-orders before release. The same year, their albums Solid State Survivor and X∞Multiplies held the top two spots on the charts for seven consecutive weeks, making YMO the only band in Japanese chart history to achieve this feat. The 1980 song ' was an early experiment in electronic.
X∞Multiplies was followed up with the 1981 album. 'Rap Phenomena' from the album was an early attempt at electronic rap. They also had similar success abroad, performing to sold-out crowds during tours in the United States and Europe. The single 'Computer Game' had sold 400,000 copies in the United States and reached No.
17 in the UK Charts. The group also performed 'Firecracker' and ' live on the television show. At around the same time, the 1980 song 'Riot in Lagos' by YMO member Sakamoto pioneered the beats and sounds of. The band was particularly popular with the emerging community, which appreciated the group's electronic sounds, and in where 'Firecracker' was a success and sampled in the famous Death Mix (1983).
Meanwhile, in Japan, YMO remained the best-selling music act there up until 1982. 1984–1993: Breakup and brief reunion The band had paused their group activities by 1984. After the release of their musical motion picture Propaganda, the three members had returned to their solo careers.
They were careful to avoid saying they had 'split up', preferring to use the Japanese phrase meaning 'spreading out' ( 散開, sankai), and the trio continued to play on each other's recordings and made guest appearances at live shows. Takahashi, in particular, would play the band's material in his concerts. Meanwhile, Sakamoto would gain international success for his work as a solo artist, actor, and, winning, and awards. Yellow Magic Orchestra released one-off reunion album, and credited it to 'NOT YMO' (YMO crossed out with a calligraphy X) or YMO in 1993. Instead of traditional vocals, about half of it features field audio recordings and samples of authors and scientists reading their work. During their brief reunion in the early 1990s, they continued to experiment with new styles of electronic music, playing an instrumental role in the and movements of the era.
2002–present: Post-breakup and reformation. This section needs additional citations for. Unsourced material may be challenged and removed. (February 2011) The early 2000s saw Hosono & Takahashi reunited in a project called.
On a number of occasions Ryuichi Sakamoto has joined in on Sketch Show performances and recording sessions. He later proposed they rename the group Human Audio Sponge when he participates. Barcelona performance at Sonar festival and Wild Sketch Show DVDs chronicle these reunions, and include a tongue-in-cheek Japanese text only history of the group that spans to 2036. The band have reunited in 2007 for an advertising campaign for Lager which lampooned their longevity and charted No.1 on various Japanese digital download charts (including chart) with the song 'Rydeen 79/07', released on Sakamoto's new label. Recently performing live as Human Audio Sponge; Hosono, Sakamoto and Takahashi did a live performance together as Yellow Magic Orchestra for the, on July 7, 2007, which raised money and awareness of a 'climate in crisis.' In August 2007, the band once again reformed, taking the name HASYMO or HAS/YMO, combining the names of Human Audio Sponge and Yellow Magic Orchestra. Buy project altered beast. Their first single under this name, 'Rescue', was written for the film.
They released a new two song single titled 'The City of Light/Tokyo Town Pages' on August 6, 2008. HASYMO played two live concerts in Europe in the summer of 2008, one at the, London on June 15, as part of the festival of music curated by and another in, Spain on the 19th. Although the primary YMO members (Yukihiro Takahashi, Haruomi Hosono, and Ryuichi Sakamoto) are effectively known as HASYMO and played both these concerts, these concerts were billed simply as 'YMO' but featured only 4 YMO songs in each concert while the rest of the concert featured Sketch Show, HASYMO music and member's solo works. In August 2009, the band played the World Happiness festival in Japan, featuring many Japanese artists. The band closed the night, and confirmed that 'Yellow Magic Orchestra' is their official name, dropping the HASYMO title. They opened with a cover of ' and performed old YMO songs along with their newer songs.
In August 2010, YMO once again closed their World Happiness festival. They added classic songs from their back catalog into their set list. They also covered ' and '. In January 2011, announced for their World Festival concert series that Yellow Magic Orchestra will perform at the on June 26, 2011.
Not long after, a concert for June 27, 2011 at was added. It was announced in February that YMO will perform at the Fuji Rock festival in July and the World Happiness festival 2011 on August 7 where they will debut new songs. In 2012, Sakamoto helped organize the festival held in the hall in on July 7 and 8, 2012.
Among the many artists performing, closed the July 7th concert, with YMO performing on both days, closing the July 8th concert. YMO also headlined their World Happiness festival on August 12, 2012.
Musical style and development While their contemporaries in, and later Detroit, were using synthesizer technology to create bleak music, YMO introduced a more 'joyous and liberating' approach to electronic music. According to Sakamoto, they were 'tired' of Japanese musicians imitating and at the time and so they wanted to 'make something very original from Japan.' Kraftwerk was particularly an influence on Sakamoto, who heard the band in the mid-1970s and later introduced them to his fellow band members. They were impressed with Kraftwerk's 'very formalized' style but wanted to avoid imitating their 'very German' approach.
He described Kraftwerk's music as 'theoretical, very focused, simple and minimal and strong'. Their alternative template for electronic pop was less, made more varying use of synthesizer lines, introduced 'fun-loving and breezy' sounds, and placed a strong emphasis on in contrast to Kraftwerk's statuesque 'robot pop'. The band also drew from a wider range of influences than had been employed by Kraftwerk.
These influences on YMO included (such as ), traditional, experimental (of the era), (such as and ), arcade game samples, American, ska, 's disco work, the Beatles, and their leaderclassical music, and. Sakamoto has expressed that his 'concept when making music is that there is no border between music and noise.' Sampling. ' made extensive use of, using the custom-built, which sampled and sounds. Problems playing this file?
Their approach to music was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and them using computer technology. Their 1978 hit ', for example, sampled 's 1959 melody 'Firecracker' and from and. According to The Vinyl District magazine, they also released the first album to feature mostly samples and loops (1981's ).
The pace at which the band's music evolved has been acknowledged by critics. According to, YMO's musical timeline has gone from 'zany exotica-disco spoofs' and 'bleeps and blips' in the 1970s to 'sensuous perfected' in their 1983 albums and. (1981) was produced using the, a digital that Kenji Murata custom-built for YMO. Soon after Technodelic, the LMD-649 was used by YMO-associated acts such as and. Instruments. The is one of the first programmable, which since the mid-1980s has been used in more hit records than any other drum machine. The band often utilized a wide variety of state-of-the-art immediately as they were made available.
Yellow Magic Orchestra and Ryuichi Sakamoto's Thousand Knives were one of the earliest albums to utilize the, which was programmed by during recording sessions. Roland called the MC-8 a ' composer' and it was the first stand-alone -based.
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It also introduced features such as a to enter note information and 16 of which allowed a maximum sequence length of 5200 notes, a huge step forward from the 8–16 of the era. While it was commercially unsuccessful due to its high price, the band were among the few bands at the time to utilize the MC-8, which they described as, along with its Hideki Matsutake, an 'inevitable factor' in both their music production and. ' (1979) made use of synthesizers for the melodies and digital for the. They were also the very first band to utilize the, one of the first and most influential programmable drum machines, as soon as it was released in 1980. While the machine was initially unsuccessful due to its lack of digital sampling that the rival offered, the TR-808 featured various unique artificial percussion sounds, including a, 'tinny sounds', 'the ticky, the tishy (open and closed)', and 'the spacey ', which YMO utilized and demonstrated in their music, as early as its year of release in 1980, paving the way for the TR-808's mainstream popularity several years later, after which it would be used for more hit records than any other drum machine and continue to be widely used through to the present day. At the time, noted that the use of such computer-based technology in conjunction with allowed YMO to create new sounds that were not possible until then. Yellow Magic Orchestra was also the first computer-themed music album, coming before Kraftwerk's (1981) by several years.
As a result of such innovations, YMO were credited at the time for having 'ushered in the age of the computer programmer as rock star.' Other electronic equipment used by the group included the (see above), sequencer, and, and synthesizers, synthesizers, and synthesizers, and, and synthesizers. Were also used, the and.
Legacy The band has been described as 'the original ' and their early work has been described as ' music. By the 1990s, YMO were also frequently cited as pioneers of music. YMO also popularized a style of that eschewed human movement in favour of electronics such as and samplers. They also influenced the movementincluding British bands Duran Duran and, whose member was influenced by drummer Takahashi, while lead member was influenced by Sakamoto, who would later collaborate with Sylvian. Various cover versions of ' (1983) have also been produced by other artists, including in 1993 (') and in 2006. In 2009, a cover of 'Kimi ni Mune Kyun' was used as the for the adaptation of, sung by, and, the of the main characters.
In 2015, in the anime, episode 5, the song 'Rydeen' is played by Kitauji highschool's orchestra. The popular series also paid homage to the band with the song 'Solid State Scouter' as the theme song of the 1990 TV special. In 's list of top 100 Japanese musicians of all time, YMO were voted second place, behind only, a band who remain largely unknown outside Japan. In 2006, paid tribute to the band with his album. Electronic music YMO were pioneers of, a genre development believes to be 'perhaps the single most significant event in since ' with its influence still evident in contemporary rock and pop music. In 1993, Johnny Black of, in a review for the record Hi-Tech/No Crime, described YMO as 'the most adventurous and influential technicians the world has produced' and further argued that 'without them (and ) today's music would still sound like yesterday's music.' In 2001, Jason Ankeny of the described YMO as 'a seminal influence on contemporary electronic music – hugely popular both at home and abroad' and placed them 'second only to Kraftwerk as innovators of today's electronic culture.'
YMO are considered pioneers in the field of popular electronic music, and continue to be or by modern artists, including artist, group, band, electrolatino artist, pioneers and, electronic music groups and, hip hop pioneer, and mainstream pop musicians such as, and. YMO also influenced music, including its pioneers, and, who cited YMO as an important influence on their work alongside Kraftwerk. YMO continued to influence later techno musicians such as, and. ' (1979) in particular is considered an 'interesting contribution' to the development of and the group.
'Computer Game' (1978) also influenced Sheffield's music; the record, 's ' (1990), defined Sheffield's techno sound by making playful use of sampled sounds from 'Computer Game' along with dialogues from the film (1977). 'Computer Game' (1978) was later included in 's compilation album Kings of Techno (2006). In the 1990s, YMO influenced pioneers such as and, as well as and other ambient/house artists. This resulted in the release of the tribute remix album Yellow Magic Orchestra: Hi-Tech/No Crime in 1993, by leading, and techno musicians at the time, including The Orb, 808 State, and Orbital.
The music YMO produced during their comeback in the early 1990s also played an instrumental role in the techno and movements towards the end of the 20th century. The band's use of and video game sounds has continued to be an influence on 21st-century acts such as, and. YMO's success with music technology encouraged many others, with their influence strongly felt in the of the early 1980s in particular. They influenced many early British synthpop acts, including, The Human League, and, as well as American rock musicians such as.
', a tribute to Tokyo as an electronic mecca that used the term 'techno' in its title, foreshadowed concepts that and would later have with. Hip hop The band was popular with the emerging community, which appreciated the group's new electronic sounds, and in where ' was a success and sampled in the famous Death Mix. According to, they 'may have just invented hip-hop'; the hip-hop pioneer Afrika Bambaataa credited the band as an inspiration and once remarked that YMO invented (in a half-joking manner). Afrika Bambaataa's influential song ' was partly inspired by YMO. The 'terse videogame-' sounds of YMO's 'Computer Game' would have a strong influence on the emerging and hip hop genres.
Sakamoto's 'Riot in Lagos' was cited by as a major influence on his early electro hip hop group; he included both 'Computer Game' and 'Riot in Lagos' in his compilation album (2002) which consists of the songs that influenced his early career. The song was also later included in 's Kings of Electro (2007), alongside later electro classics such as 's 'Al-Nafyish' (1983). The 1980 release of 'Riot in Lagos' was also listed by in 2011 as one of the 50 key events in the history of.
YMO's use of and also had a particularly big influence on 1980s hip hop and pop music. Beyond electro acts, ' was also sampled by a number of other later artists, including 's ' (1987), 's 'Funky Towel' (for the 1996 film ), 's worldwide hit ' (2001), and the original unreleased version of 's ' (2001). Japan The band has also been very influential in its homeland Japan, where they had become the most popular group during the late 1970s and 1980s. Their albums Solid State Survivor and held the top two spots on the charts for seven consecutive weeks in 1980, making YMO the only band in Japanese chart history to achieve this feat. Young fans of their music during this period became known as the 'YMO Generation' ( YMO世代, YMO Sedai).
The band significantly affected Japanese pop music, which started becoming increasingly dominated by electronic and computer music due to YMO's influence. YMO were one of the most important acts in Japan's ' movement and paved the way for the emergence of contemporary in the 1980s. They also inspired early artists such as, and the composer.
Video games YMO also influenced many and significantly affected the sounds used in much of the and produced during the and. As a result, several video game composers, including and, formed a parody band called 'Oriental Magnetic Yellow' (OMY) in 1994, producing parody cover versions of various YMO records. Discography. Buckley, P. (2003), The Rough Guide to Rock, Rough Guides, London (pp. ^ Lewis, John (July 4, 2008).
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'Saint' Weston East at your 'Service' this week, taking ATB All Over The Map, flying you to, among other places, 'Andromeda'.merely the most exciting 21:19 in big-band fusion history! From there, it's all the way 'Across The Universe' with ace dub/reggae remixer Black Market having another go at David Bowie. A look at Mr. Market's bandcamp page reveals re-works of Bowie, The Beach Boys, The Clash, music from The Twilight Zone and The X-Files.
All dubbified for your skanking pleasure. Well worth checking out!
Oriental Magnetic Yellow Rare Candy
We've played 8-bit swingers YMCK on the Map before, but this time we led into it with a song called 'Y.M.C.K.' By a certain Group2 we first heard of just the day before airtime! Lovin' their reverb-saturated uptempo rock vibe. As for YMCK the band, they've got a new chiptune-swing album releasing late January. The Parov Stelar track goes out to all the Caravan Palace fans out there, myself included. Friday Morning Fever introduced you to '70s-'80s Japanese singer Rajie, first with a heavenly slice of heavily- symphonicized slow disco and then with something you might mistake for a great Sergio Mendes Brasil 77 trop-pop track. If Sergio Mendes had been Japanese!
Oriental Magnetic Yellow Rare Color
Methinks future installments of the Map will definitely include more Rajie. Yellow Magic Orchestra fans will want to dig co-founder Haruomi 'Harry' Hosono's two extremely divergent cuts near the start of the show, as well as the YMO-into-OMY mix near the end. OMY was Oriental Magnetic Yellow, an obsessive YMO tribute band (check out their brilliant album-cover knockoffs online!) and Pierrot was both Mad and Good! Great as a matter of fact. Now, if you've read this far, by all means groove to the archives. Up for 2 weeks from date of broadcast!
This is one of my favorite vegetables. It sprouts in about 2 days after sowing and is a fast grower. Requires little care, just watering. If you let one or two plants go to seed, the seeds that drop to the ground will sprout and grow new plants during the same season. I sow in rows about 4 or 5 feet long. To harvest, I cut one or two leaves from any given plant. The cut leaves will be replaced.
Great as a salad green or chopped up and placed over tofu together with chopped green onions. Has a really nice flavor.
Do you fucking see beastie boys there? math rock - ambient - Secret Pyramid - Movements of Night ambient, drone System Error - Nothing electronic, ambient, glitch, IDM shoegaze - Ringo Deathstarr - Colour Trip shoegaze, dream pop Meeks - Beatless - Shoegazer covers of the Beatles shoegaze i also have another ambient album uploading, but my internet is pretty slow.
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