New Customer Review

They always find away to make Hiiragi merch so bold and electric and I love it!!! I just had to get this charm strap!!! It’s so beautiful and it just draws me in!!!

Okay, so this charm strap is so pretty!!! They did a really good job with it and I love the blue color that they used for Ritsuka here!! It’s so pretty and fits his color pallet well!!

Okay I love Akihito so much and this acrylic keychain reminds me of how hot and beautiful he is!!!! He’s just so cool!!!

Okay, so I wasn’t expecting to love this keychain as much as I do!! For me, I feel like it can be a hit or miss for Haruki specific merch, but I really love how they created this keychain and he looks so beautiful here!!!

This is not a classical concert or guitar recital with particular etiquette for audience. This is a musical feast, a celebration of the guitar instrument where three guitars dance and talk to each other, and where audiences are free to express their amazement to many great licks and solos.

This release offers a refreshed perspective on the band's most controversial record. It utilizes Don Gunn’s 2019 stereo mix featuring newly tracked acoustic drums by Pat Mastelotto. On this CD, the industrial math-rock sounds monumental; the old plastic digital harshness is gone, allowing riffs on “FraKctured” and “Larks' Tongues IV” to hit twice as hard.

“The Power to Believe” represents the absolute peak of the quartet's heavy, industrial sonic assault. This Japanese pressing maximizes the dynamic scale, transitioning flawlessly from delicate “A Cappella” vocals to the tectonic shifts of “Level Five” and “Dangerous Curves”. Crisp, aggressive, and highly detailed.

A spectacular document of Crimson’s final 1980s show in Montreal. The band performs with ferocious speed and off-the-charts adrenaline. This CDs preserve every ounce of that concert energy. Superb channel separation lets you hear exactly how Fripp and Belew’s guitars lock together while Tony Levin’s Stick drives the groove.

This release of the 1969 archival recordings is an invaluable artifact for collectors. The double album “Epitaph” chronicles the live performances of the band's original lineup. Thanks to high-quality Japanese pressing, the sound from these archival sources (soundboards and radio broadcasts) is pushed to its absolute limit. The raw power of “21st Century Schizoid Man” and the haunting tragedy of “Epitaph” featuring Ian McDonald and Greg Lake sound spectacular. This is living history of progressive rock, beautifully packaged, and a mandatory addition to the shelf of any early King Crimson devotee.

It's an audiophile showcase, capturing the band’s legendary 2015 Canadian performance with staggering definition. The high-fidelity SHM-CD formulation handles the three-drummer wall of sound (Mastelotto, Harrison, Rieflin) with surgical precision, keeping the dense polyrhythms from cluttering. Reimagined catalog staples like “The Court of the Crimson King” hit with immense dynamic punch and physical weight. This pressing offers an unmatched stereo soundstage, making it a definitive chronicle of the modern Crimson era.

When I first heard Jay Chou's music a little more than 2 decades I wasn't as fond of his early releases. Even some later ones were sorta hit or miss for me. Lately though, I've been re-listening to many and have really fallen in love with his songs, all of them in fact. He's such a fantastic and unique artist and this was a wonderful starting point for his career. So many fantastic songs and I just love the packaging too. Definitely recommended!!

“Discipline” turns the page on Crimson's history, perfectly capturing the transition to their mathematical 1980s era. The radical shift in style, introducing Adrian Belew and Tony Levin while blending new wave with complex math-rock, sounds incredibly modern and crisp on this SHM-CD. The intricate guitar weaving of Fripp and Belew on “Frame by Frame” and the bouncy, deep pulse of Levin’s Chapman Stick on “Elephant Talk” are presented with stunning stereo separation. The Japanese mastering enhances every single electronic hit from Bill Bruford, making the album feel like a flawless geometric blueprint. A true masterpiece of musical geometry in pristine collector's quality.

Most atmospheric and often overlooked album of the decade. Heavily inspired by the Beat Generation of Kerouac and Ginsberg, this CD delivers a remarkably warm yet punchy presentation. The intricate sonic textures of “Sartori in Tangier” and Fripp’s lush guitar synth work on “Waiting Man” are rendered with stunning transparency. It is a deep, hypnotic, and wonderfully moody facet of Crimson's geometric rock.

This album completes the 80s trilogy, demonstrating a striking balance between pop accessibility and edgy avant-garde. The album’s famous split between the accessible "Left Side" and experimental "Right Side" sounds phenomenal. The melodic title track and the driving groove of “Sleepless” pop with a tight, visceral pulse from Tony Levin's bass, while the industrial terror of “Industry” boasts an impressive, three-dimensional depth. This Japanese pressing maximizes the dynamic range, turning the final curtain of the quartet's landmark era into a true audiophile celebration.

Monumental album “THRAK” represents the ultimate realization of the "double trio" format. On this CD, the polyphonic chaos of a six-piece band turns into a flawless audiophile showcase. The sheer weight of crushing tracks like “Dinosaur” and the dystopian noise of the title cut are balanced by the shimmering, crystal-clear acoustic space of “Walking on Air”. Dense, aggressive, and masterfully defined, this CD is the definitive way to experience 90s progressive metal.

This is a really good album, worth collecting, the store's customer service is excellent, no damage, top-notch

This reissue of the seminal “Larks’ Tongues in Aspic” (1973) stands as a definitive way to experience this progressive rock milestone. The lineup shift welcoming John Wetton, Bill Bruford, and Jamie Muir injected aggressive heaviness and avant-garde jazz chaos into Crimson's universe. This specific pressing beautifully handles the album's extreme dynamic range—capturing everything from Muir's delicate, chiming percussion on the title track to Robert Fripp's bone-crushing, proto-metal guitar riffs. With its superb Japanese manufacturing quality and meticulous artwork, it is an essential pick for audiophiles.

The Japanese reissue of “Starless and Bible Black” (1974) is a stellar continuation of the trilogy. This record uniquely blurs the lines between studio production and raw live improvisations captured on European stages. The jagged heavy riffs of “The Great Deceiver” hit with immense punch, while the ambient title track unfolds in all its dark, melancholic beauty. The Japanese mastering perfectly separates John Wetton's driving bass lines and David Cross's fierce violin textures, delivering a wide and hauntingly realistic soundstage that is essential for any audiophile.

Reissue of the monumental album “Red” (1974) delivers a spectacular final curtain for both the trilogy and the band's 1970s era. Stripped down to a trio of Fripp, Wetton, and Bruford, Crimson crafted a proto-metal masterpiece. This SHM-CD presentation beautifully handles the aggressive, abrasive weight of the title track and the haunting depth of “One More Red Nightmare”. The absolute crown jewel is “Starless,” where melancholic mellotron and Ian McDonald’s guest saxophone give way to a suffocating, building crescendo. The Japanese pressing provides outstanding audio definition, perfectly capturing the crushing sonic assault of a rhythm section that Fripp famously described as "a flying brick wall".

This record stands as a blistering document of the final days of the legendary Wetton-Bruford lineup. On this CD pressing, the historically raw and dense mix is granted extraordinary audiophile breathing room. Exploding tracks like “Asbury Park” and the ferocious “21st Century Schizoid Man” punch through with stunning stereo separation. John Wetton’s growling, overdriven bass lines and David Cross’s searing violin work are perfectly isolated, cleaning up the old sonic clutter. It is the ultimate presentation of one of progressive rock's most aggressive live documents.