THE FOUNTAIN MUSIC AND PLAZA IN CROWD COLLECTION.

THE FOUNTAIN MUSIC AND PLAZA IN CROWD COLLECTION.

Recently I wrote a feature on two of Electronic Dance Music’s most ambitious and innovative labels, Japan’s Fountain Music and Plaza In Crowd. Although Fountain Music and Plaza In Crowd were only founded in June 2008 by Shinji Tokida, they’ve been releasing innovative and groundbreaking music since then. They’ve put many UK, European and American labels to shame, with the amount of quality music they’ve been releasing in the past four years. During that time, both Fountain Music and Plaza In Crowd have released over twenty CD albums and over one-hundred digital releases and built up an international following. For anyone yet to hear the music of Fountain Music and Plaza In Crowd, label President Shinji Tokida, has decided to release a series of limited edition “collections,” which will prove the perfect introduction to both labels music. There is The Fountain Music and Plaza In Crowd Collection an eleven CD collection which I’ll review here and two five CD collections, which are available from Fountain Music’s website. So, for anyone yet to discover the music of Fountain Music and Plaza In Crowd, I’ll give you an overview of the eleven disc The Fountain Music and Plaza In Crowd Collection, which features some artists I’ve previously reviewed and enthused about, plus a few new faces. The eleven disc Fountain Music and Plaza In Crowd Collection features albums like Shin Nishimura’s Mash, TEMMA-Teje’s Midget Lamps In the Dark and Satoshi Fumi’s Colours, plus albums by Dave Angel, DJ Yellow, Popnoname, Sans Soleil and Genevieve and Takaaki Tsuchiya. These albums range from some of Fountain Music and Plaza In Crowd’s earliest releases, through to their most recent release. After I’ve briefly told you about each album, I’ll tell you whether you invest in The Fountain Music and Plaza In Crowd Collection.

DJ YELLOW AND ASTRID SURYANTO-THE INTERMISSION.

DJ Yellow and Astrid Suryanto’s Intermission was one of Fountain Music’s earliest releases, released back in 2008. Intermission was a collaboration between French house and electro producer DJ Yellow and Indonesian singer, singer and producer Astrid Suryanto. It’s a glorious journey through house and electro, with elements of techno on Light On Me and To The Top. Joining DJ Yellow and Astrid on The Intermission are King Britt who features on Night in Tranzylvania. To me, Intermission’s success is the combination of talented personnel, especially Astrid’s vocals. 

Astrid’s hauntingly beautiful vocals key to Intermission’s success. Her vocals help set the mood of the track. Some of her best vocals are on the joyous and irresistible In Your Voice, To The Top especially on To The Top, the moody Alone and is hauntingly beautiful on To The Top. Add to that the combination of synths and drums from DJ Yellow that provide the backdrop for Astrid’s vocals and the scene is set for The Intermission to be a mood changing sixty-nine minute musical roller-coaster.

Sadly, The Intermission was the only collaboration between DJ Yellow and Astrid Suryanto. However, given how good The Intermission is, it would be difficult to top The Intermission. Of the eleven discs in The Fountain Music and Plaza In Crowd Collection, Intermission is one of my favorites. It’s a glorious journey through house, electro and techno, which changes your mood, ranging from makes you think, feel sad and make you want to dance for joy. Take my advice and buy a copy of DJ Yellow and Astrid Suryanto’s The Intermission…now.

DJ YELLOW AND ASTRID SURYANTO-THE INTERMISSION.

SANS SOLEIL AND GENEVIEVE-SIMPLE MACHINE.

Sans Soleil and Genevieve’s Simple Machine was released by Fountain Music in 2009. Simple Machine was Sans Soleil’s fourth album, and the followup to 2007s Boreal. Simple Machine was a collaboration between two mainstays of Toronto’s music scene. Michael Trommer is a producers who describes his work as experimental, while vocalist Genevieve Marentette originally trained as jazz singer. She’s was a feature of the Detroit music scene for many years, but is now based in Toronto and her versatility sees her singing jazz, Latin and soul music. On Simple Machine, Michael and Genevieve’s talents are put to good use.

Simple Machine is one of these albums that makes an impression straight away. From the opening track, Bike which mixes Detroit techno with Genevieve’s ethereal vocal the combined talents of Sans Soleil and Genevieve is apparent. Bike mixes techno and ambient music, while Bulb is a slow burner, featuring a whispered vocal from Genevieve set against a pounding beats and synths. Gradually, Bulb reveals its secrets over seven compelling minutes. Lorax V1 bubbles along, with synths and crunchy beats and Genevieve’s fragile vocal floating above the arrangement. Like other tracks Star Nibbler reveals the innovative side of Michael Trommer, as a pounding techno track unfolds, while melodic synths and sound effects punctuate the arrangement. Lover`s Endgame which closes Simple Machine shows the experimental side to Michael Trommer, as he incorporates elements of techno, ambient music and house music while referencing electronic pioneers like Kraftwerk. It’s a compelling and fascinating end to Simple Machine.

For anyone whose either a fan of techno, ambient music or just Electronic Dance Music, then Simple Machine by Sans Soleil and Genevieve, which to me is an absolute hidden gem of an album. I for one, will be checking out more of Sans Soleil and Genevieve’s solo work and so should you, after you’ve heard Simple Machine.

SANS SOLEIL AND GENEVIEVE-SIMPLE MACHINE.

BEAUTIA.

Beuatia was one of Fountain Music’s first compilations, released back in 2009. It’s an eleven track compilation, compiled by Fountain Music President Shinji Tokida. For anyone wanting an introduction to Fountain Music and Plaza In Crowd, then this is what you’ve been looking for. The eleven tracks on Beautia are some of the earliest releases on Fountain Music and Plaza In Crowd. This includes tracks from Small Town Girls, DJ Yellow, Hiroshi Watanabe, Dave Angel, Sans Soleil, Popnoname, D. Soul and Synethesys. Truly, Shinji Tokida has chosen well for the eleven tracks that feature on Beautia.

Small Town Girls’ Don’t Dance Just Yet opens Beautia and is a track the grabs your attention from the get-go. It toys with you, teasing you before revealing its secrets. Like the albums by DJ Yellow and Astrid Suryanto and Sans Soleil and Genevieve, Small Town Girls’ Don’t Dance Just Yet features a glorious vocal, set amidst a swathes of synths and crunchy beats. Having gotten Beautia of to a storming start, DJ Yellow’s Melody For H is a ten-minute Magnus Opus which draws you in and then takes you on a joyous musical adventure. Then comes Hiroshi Watanabe’s melodic A New Place For Your Heart where elements of techno and house are combined to create drama and beauty in equal measures. London born techno producer Dave Angel’s Ghost Train is another of Beautia’s highlights, proving that UK producers can create techno that’s capable of rivalling the techno coming out of New York, Detroit and Chicago.

Among the many other highlights of Beautia is Spring Breeze by Dublee is a bubbling slice of minimal techno. It’s one of my favorite tracks on Beautia and I’d like to hear much more of Yusuke Sakurai’s music. Sans Soleil and Genevieve’s Lover’s Endgame is another welcome addition, as is Popnoname’s melodic, moody and dramatic techno track Storm. Synethesys’ Sunday Afternoon is the final track on Beautia, where techno and ambient music are fused, creating a thoughtful and beautiful track. 

For newcomers to the music of Fountain Music and Plaza In Crowd, the music on Beautia are the perfect introduction to both labels. Beautia features eleven track that demonstrate just some of the hugely talented and innovative artists that have played their part in Fountain Music and Plaza In Crowd’s history. Compiler Shinji Tokida has chosen the tracks on Beautia well, and Beautia is a very much a voyage of discovery, where you’ll hear some new music from some innovative and imaganitive music.

BEAUTIA.

POPNONAME-SURROUNDED BY MARS. 

Popnoname which is the production vehicle for Cologne based producer Jens-Uwe Beyer, first release for Fountain Music was their 2009 Save the World single. A year later in 2010, Popnoname released Surrounded By Mars on Plaza In Crowd. Surrounded By Mars was a remix album, where remixers remixed the eight tracks on Popnonames’ 2009 album Surrounded By Weather, which had been released on the Italic label.

The remixes on Surrounded By Mars brought new life and meaning into the eight tracks that featured on Surrounded By Weather. These tracks are a combination of techno, house and ambient music. Of the twelve tracks on Surrounded By Mars, the Storm Picious Remix is a fusion of elements techno, house and ambient music, with even a touch of dub thrown in for good measure. On 2012 Pinto Remix there’s more of a house and techno sound and feel, while the Perspective Geiger & Deepulse Remix starts off something of a slow burner, but once it gets going, is an eight-minute journey where elements of techno, house and ambient music are combined seamlessly. Love Deeper Than Love Remix sweeps you along in its midst and with its combination of crunchy beats and swathes of synths, The Smallest Part Ambient Remix brings Surrounded By Mars to a meandering, laid-back and beautiful close. It’s a track that would be a welcome inclusion on any ambient or chill-out compilation and is one of the real highlights of Surrounded By Mars.

Given how much I enjoyed Popnoname’s Surrounded By Mars, I’ll very definitely be investigating Popnoname’s music further. Sometimes, remix albums don’t work, but Surrounded By Mars does. It breathes new life and meaning into the original tracks and comparing and contrasting the original tracks on Surrounded By Weather is an interesting exercise. For anyone yet to discover Popnoname’s music, then Surrounded By Mars is a good starting point for your journey.

 POPNONAME-SURROUNDED BY MARS. 

DJ YELLOW-ALIENATION.

The only artist who has two discs in The Fountain Music and Plaza In Crowd Collection is DJ Yellow, whose 2010 album Alienation for Fountain Music is his second contribution to the collection. Given how good DJ Yellow’s and Astrid Suryanto’s Intermission was, the bar has been set high. Will DJ Yellow’s Alienation match the quality of Intermission?

There are nine tracks on DJ Yellow’s Alienation, including Dubfire’s Dubstep Re-edit of 1st Step. Alienation opens with the moody, haunting DJ Yellow’s Kontrolling Your Mindz. With its myriad of haunting vocal, melodic percussion and dark, moody synths, it’s a compelling way to open Alienation. DJ Yellow builds up the drama and you’re wondering which way the track is heading. Instead, DJ Yellow just teases you with a moody, elegiac musical journey that gets Alienation off to a compelling start. 

On There Are Some Jedi, DJ Yellow’s techno roots come into play, with a pulsating track, that continues on the dramatic You Think Too Much, where you’re swept along amidst crunchy, galloping beats and old-school synths. This Is It is another of the highlights of Alienation, with the track featuring pounding beats, swathes of synths and percussion that drive the track along. Lost sees a change in sound, with a much more minimalist sound. No More Enemies sees DJ Yellow change the sound again, but this results in one of the most compelling and fascinating tracks on Alienation. Closing Alienation is one of the highlights of the album Melody For H. It’s a track that has a joyous sound where techno and house unite. Just stabs and washes of synths combine with pounding beats, as DJ Yellow seems determined to end Alienation on a high. This he does, creating a track that would sound great in clubs anywhere. 

While I’d earlier wondered whether DJ Yellow’s Alienation would match the quality of his collaboration with Astrid Suryanto on Intermission, I can honestly say that that’s the case. Having said that, Alienation is very different, given that there are no vocals on the album. In a way, that allowed DJ Yellow to create an album that’s a compelling combination of techno and house, melodic, uplifting and dance-floor friendly.

DJ YELLOW-ALIENATION.

TAKAAKI TSUCHIYA-CONNECT VIA LOVE BRIDGE.

Takaaki Tsuchiya released his debut album Connect Via Love Bridge in 2011 on Fountain Music. On Connect Via Love Bridge, Takaaki is joined Genevieve Marenette whose responsible for the melodies and is guest vocalist on Stream and Connected. Among the other guest artists on Connect Via Love Bridge are Loud One, 4/4 Kicks Kiss, Popnoname and Kasumi. Together, Takaaki Tsuchiya and these guest artists created eleven slices of uplifting house music.

Genevieve adds her ethereal vocals to the intriguing and wistful Stream, before joining Takaaki on the pounding 4/4 of Connected, which is a dramatic combination of tech and deep house. Smile is aptly titled, because as soon as you hear this uplifting and joyous hands in the air track, you’ll Smile. When Disorder opens, you immediately think of sixties and seventies spy movie soundtracks, given the track’s moody, broody sound. Gradually, the track reveals its subtleties and secrets, with pounding beats, percussion, synths and whistles punctuating the track. Truly, it’s hard to resist this tracks charms. 

One of the real highlights of Connect Via Love Bridge is Luv In Space, where  4/4 Kicks Kiss add sensuous, breathy vocals. They combine perfectly with the crispy beats that drive the track along at breakneck speed, along with stabs and swathes of synths. Another of Connect Via Love Bridge’s standout tracks is Super Light, which features Kasumi’s vocal. Listen carefully, and you’ll hear a slight French Touch influence to the track’s  melody. Although the thunderous beats provide the track’s pounding heartbeat, it’s Kasumi’s vocal that make this such an outstanding tracks.

For a debut album, Takaaki Tsuchiya’s Connect Via Love Bridge is a really accomplished album. Although Takaaki is obviously a talented musician and producer, what makes this such a good album, is the artists who collaborate with Takaaki on Connect Via Love Bridge,  especially the vocalists. Genevieve, 4/4 Kicks Kiss and Kasumi’s vocals play an important part in Connect Via Love Bridge sound and success. Of all the house albums I’ve heard over the past few years, Connect Via Love Bridge is right up there with the best and proves that there are still talented producers out there producing new and innovative quality music.

TAKAAKI TSUCHIYA-CONNECT VIA LOVE BRIDGE.

DAVE ANGEL-FRAME BY FRAME

New and innovative quality music is the perfect description of what Dave Angel has been doing all his career. Dave is a London based techno producer and founder of Rotation Records whose been making music since the nineties. In 2011, Dave Angel released Frame By Frame for Fountain Music, which is a combination of techno and tech house. On Frame By Frame, Dave is responsible for ten of the eleven tracks and collaborates with Japanese producer Ken Ishii on Type E. Trying to pick just a few of the highlights of Frame By Frame isn’t easy, but here goes.

The Hunt opens Frame By Frame and a glorious slice of techno, that has you licking your lips with anticipation at what’s still to come. Atlantis has a much more downtempo sound, although the beats still pound. Melodic synths sit in the background, their warm sound omnipresent. Then Dave unleashes a fusion of beats, synths and bursts of vocals that draw you in. You could say it’s Game On, which is the next track on Frame By Frame. It has much in common with Atlantis, and sees the track heading in the direction of tech house, with elements of techno still present. From there On Point and Drop Top see the quality continuing, as Dave Angel does what he’s been doing for three decades, producing quality techno. Jet Stream and Counter Wave sees more of Dave Angel’s unique brand of techno, with elements of tech house added for good measure. One of my favorite tracks is Scots Warrior’s, which chunters along, with crunchy drumbeats, percussion and swathes of synths escaping from the mix. You can imagine this being played in a dark, cavernous club and bringing the house down. 

Of all the albums in The Fountain Music and Plaza In Crowd Collection, Dave Angel’s Frame By Frame is one of the best albums. It’s of the standard you’d expect from Dave Angel, who now is something of a veteran of the techno scene. Given that Dave’s about to record another album for Fountain Music, I can’t wait to hear more from Dave Angel, given how good Frame By Frame is. Techno and tech house fans everywhere, Frame By Frame is an album that belongs in your collection.

DAVE ANGEL-FRAME BY FRAME

CENTURY GROOVE INNOVATION VOLUME 1-MIXED BY HIROSHI WATANBE.

Century Groove Innovation Volume 1-Mixed By Hiroshi Watanabe demonstrates just how eclectic a selection of albums The Fountain Music and Plaza In Crowd Collection is. It sees Hiroshi Watanabe seamlessly mix his way seamlessly through a mammoth twenty-five tracks. Demonstrating how DJ-ing is fast changing, Hiroshi Watanabe mixed Century Groove Innovation Volume 1 not on traditional turntables, but using Traktor Pro X2, Kontrol X1, Audio 6 and his trusty MacBook Pro. Not only is his mixing seamless, but his selection of music is peerless. During his twenty-five mix set, he introduces us to some familiar faces from Fountain Music and Plaza In Crowd’s roster. However, who are these familiar faces?

During Hiroshi Watanabe’s twenty-five track mix Century Groove Innovation Volume 1, he mixes tracks from Fountain Music and Plaza In Crowd’s roster. This includes Synethesys’ Hope which gets the mix of to an infectiously catchy and dramatic start. From there, the mix includes TEMMA-Teje’s Run, Foog and TEMMA-Teje’s Dumb, DJ Yellow’s Tranzylvania, Dave Angel And Ken Ishii’s Type E and Sans Soleil’s Moulinex. Two Fountain music artists collaborate on Cherry Breaks, which is remixed by DJ Sodeyama Remix. They are Popnoname and Hiroshi Watanabe and their contribution is one of the highlights of Century Groove Innovation Volume 1. So too is Dublee melodic and irresistible Escape. 

Although I’ve only mentioned what are just a few of the highlights of Century Groove Innovation Volume 1, there’s many more delights to discover on Hiroshi Watanabe’s mix. The twenty-five track musical journey that is Century Groove Innovation Volume 1, Hiroshi Watanabe seamlessly mixes various genres of electronic music, including techno and tech house. During that twenty-five mix, you’ll discover many artists you’ve never heard of before, along with a few familiar friends, so enjoy the voyage of discover that is Century Groove Innovation Volume 1-Mixed By Hiroshi Watanabe.

 CENTURY GROOVE INNOVATION VOLUME 1-MIXED BY HIROSHI WATANBE.

TEMMA TEJE-MIDGET LAMPS IN THE DARK.

One of the first albums that alerted me to Fountain Music and Plaza In Crowd’s music was TEMMA-Teje Midget Lamps In the Dark, released earlier in 2012. Although TEMMA-Teje is just twenty-one, he’s packed a lot into his nascent musical career so far. Starting at just aged thirteen, he was writing songs and by aged sixteen, performing twice a week with for his band. Then his career progressed in different directions. 

Inspired by the music of Underworld, TEMMA-Teje started making music on his laptop. Having put his music on My Space, people all over the world, discovered his music. This lead to a career as remixer, remixing tracks by Dave Angel and Ken Ishii, Thopa, Hiroshi Wantanbe, Dublee and Sasaki Hiroka. These remixes have been critically acclaimed by his peers, as has his original work. 

So far, TEMMA-Teje has released three E.P.s, plus collaborating with Foog on an E.P, Dumb. His career as a remixer and artist runs parallel to a career as one of the hottest DJs in Tokyo, spinning his own brand of urban groove. Somehow, TEMME Teje has found time to record his debut album, Midget Lamps In the Dark, which was released on July 2012 on Plaza In Crowd. On Midget Lamps In the Dark, TEMMA-Teje’s fuses a variety of genres, with everything from folk, pop and rock to ambient, techno and house playing its part in the album’s sound. 

TEEMA-Teje’s debut album Midget Lamps In the Dark is a intriguing series of eight compelling and mesmerizing soundscapes. During the album TEMMA-Teje fuses a variety of musical genres and influences. Everything from folk, pop and rock to ambient, techno and house plays its part in the album’s sound. During the album, TEMMA-Teje journey’s through darkness and light on tracke like Littleorc, Suici, Orb and Fail. On some tracks, the darkness descends, with the sound becoming moody and broody, sometimes, even menacing. Other times, the darkness lifts, with the light shining through, and the music becoming quite different. This is what makes Midget Lamps In the Dark such a compelling, intriguing and accomplished suite of soundscapes. What makes Midget Lamps In the Dark even more remarkable, is that this is his debut album and  TEMMA-Teje is only twenty-one years old.  If TEMMA-Teje is able to create such an accomplished album as Midget Lamps In the Dark, aged just twenty-one, then what will the a bright future awaits him, not just as an artist, but as a remixer and DJ. Once you’ve heard Midget Lamps In the Dark, I’m sure you’ll agree. 

 TEMMA TEJE-MIDGET LAMPS IN THE DARK.

SHIN NISHIMURA-MASH.

Since his 2005 debut album Star Light, Japanese Techno producer Shin Nishimura has released four albums plus two albums of remixes. His latest album Mash, which was released in May 2012 on the Plaza In Crowd label. Mash is the follow-up to his previous studio album Q’hey and Shin’s 2007 album Planetary Alliance. However, between 2007 and 2012, Shin has been busy, releasing two remix albums Identity Politics and Identity Politics Part 2, while releasing a series of EP’s. Shin describes Mash as an innovative techno album that contains “UK Beats and hard grooves. This if anything was something of an understatement, when I reviewed Mash earlier this year. Since then, Shin Nishimura’s Mash has become one of my favorite albums of 2012. However, why was that?

Shin Nishimura’s Mash is an ambitious, innovative and highly accomplished album of techno. His claim that Shin is an innovative album, with “UK beats” pointing towards the future direction techno is heading, was indeed a bold statement. However, Mash is an innovative album of techno music from a hugely experienced techno producer. In total, there are twelve tracks on Mash, the eleven that make up the album, plus a bonus track Frustration-No Nukes. Using a variety of influences, Shin came up with an album that’s compelling, intriguing and contains an eclectic and consistently high quality of techno. From the opening bars of Unity, until the closing notes of Acid Eye Shin never strays from his mission statement to create, innovate and demonstrate the direction he thinks techno is heading in the future. On tracks like Earl’s Court, Milden Hall, Mash Monster and Knightsbridge Shin shows the way techno is heading and I for one like his vision. Mid he’s had plenty of time to think about this, given it’s five years since his last album, Planetary Alliance was released.

Given the quality of music on Mash, let’s hope that it’s not another five years until Shin Nishimura’s next album. For anyone who loves techno music, then Mash is an album to look out for. On it’s released in May 2012 it allowed everyone to hear Shin Nishimura’s manifesto for the future direction of techno. The future of techno is bright with talented producers like Shin Nishimura releasing music of the quality of Mash.

 SHIN NISHIMURA-MASH.

SATOSHI FUMI-COLOURS.

I’ve kept my favorite release from The Fountain Music and Plaza In Crowd Collection until last, Satoshi Fumi’s Colours, which was released by Fountain Music in July 2012. Behind the album, is fascinating backstory, about the genesis of Satoshi Fumi’s musical career, when he discovered house music in the mid-nineties. It was the house music coming out of Detroit, Chicago and New York that first interested Satoshi. Having discovered dance music, Satoshi embarked upon a life long love of dance music, which lead to a career as a DJ and producer. He started collecting synthesizers and building a home studio. From there, he began making his own music, experimenting with sounds a variety of musical genres. Over time, Satoshi developed his own unique and unmistakable sound, fusing various genres, from techno, Acid House, click, tech house and deep house. Since then, Satoshi Fumi hs become a prolific producer, releasing his debut album Sweet Sensation in 2008. Four years later, Satoshi Fumi released his second album Colours, which surpassed everything he’d previously released.

Although there’s been a gap of four years between Satoshi Fumi’s debut album Sweet Sensation and the followup Colours, it’s been well worth the wait. The eleven tracks prove just how imaginative, inventive and innovative a producer Satoshi Fumi truly is. On Colours, Satoshi journeys through a variety of musical genres, including Acid House, ambient music and deep house, before visiting jazzy house tech house and techno. It’s a compelling musical journey, with each track blessed with its own unique sound. Given how high the standard of music is, choosing some of the highlights isn’t easy, but includes Light and Breez, Metropolitan, Myth You and Su My Lee. These tracks range from bold and dramatic, moody and broody, right through light and melodic and even encompassing wistful, melancholy and beautiful. That’s how wide the range of Colours in Satoshi Fumi’s palette is. Satoshi uses his palette well, creating an accomplished musical canvas, where layers of sounds are merged majestically creating what is, one of the most eclectic and best albums of 2012 and the real highlight of The Fountain Music and Plaza In Crowd Collection.

SATOSHI FUMI-COLOURS.

Having received the eleven disc Magus Opus that is The Fountain Music and Plaza In Crowd Collection, and the last week or so listening to each album, I was hugely impressed by the consistently high standard of each album. This is to the credit of Fountain Music and Plaza In Crowd President Shinji Tokida, whose also in charge of A&R for both labels. He seems to have the uncanny knack of discovering really talented artists and producers, and helping them to fulfill their dream of releasing an album. Shinji Tokida clearly has the talent and ability to discover new artists, plus reinvigorate other artists’ careers. His enthusiasm is truly infectious, and Shinji Tokida and his music on his two labels, Fountain Music and Plaza In Crowd deserve truly deserves a much wider audience. All too often, record companies, especially major labels, don’t spend enough time or money looking and finding new artists. A&R is the lifeblood of music industry, and by neglecting A&R and continuing to churn out a mind-numbingly tedious series of reissues of dinosaurs from the sixties and seventies, major labels do themselves no favors. Instead, it’s left to smaller labels like Fountain Music and Plaza In Crowd to discover and nourish new talent. Not only do they discover and nourish new talent, but they risk the scarcest of resources…capital. These smaller companies put their money where their mouthes are, taking a chances albums like DJ Yellow and Astrid Suryanto’s Intermission, Sans Soleil and Genevieve’s Simple Machine, Takaaki Tsuchiya’s Connect Via Love Bridge, EMMA-Teje’s Midget Lamps In the Dark, Shin Nishimura’s Mash and Satoshi Fumi’s Colours. It’s too Fountain Music and Plaza In Crowd President Shinji Tokida’s credit that he’s taken a chance and signed and released these albums. Each of these albums you can discover and enjoy, on the luxurious, Magus Opus that is The Fountain Music and Plaza In Crowd Collection, which is available via Fountain Music’s website, along with the five disc collections.

THE FOUNTAIN MUSIC AND PLAZA IN CROWD COLLECTION.

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