The Samurai i Loved

This rare classic tells of the one-eyed one-armed swordsman Tange Sazen. Tange leads an easy life as a guard of a archery shooting range. By a strange twist of fate, Sazen decides to care for an orphaned boy named Yasu who'd lost his father in a street fight. Sazen gets involved in a search of a Yagyu family treasure said to contain a map to a hidden treasure worth a million ryo.

In the era of the Shogun, an evil young lord rapes and kills, assured of immunity by law. But he didn't count on the Thirteen Assassins. A feared secret force, each with their own deadly skill, the Assassins undertake a suicide mission to wipe out the Lord. As he embarks on a perilous journey, the Assassins close off his escape route and ambush him in a village of death. But little do they know, they are outnumbered four to one by the Lord s team of bodyguards. Takashi Miike, the director responsible for such uncompromising and unforgettable movies as Audition and Ichi The Killer indelibly stamps his trademark style on the Samurai genre with the ultra-violent, all-action, blood-spattered epic, 13 Assassins.

Day turns to night as Mark de Clive-Lowe’s Heritage II takes us from the meditative zen of Heritage into a world of jazz and Japanese roots culture fused with hip hop, drum’n’bass and broken-beat.
‘Heritage is a legacy we receive from our ancestors to pass on to future generations. It’s the thread that holds us together in lineage and cultural identity,’ posits jazz and electronic music pioneer Mark de Clive-Lowe. The half-Japanese half-New Zealander presents his new album Heritage II - the partner and second installment to his critically acclaimed album Heritage, a deeply personal exploration of his Japanese cultural and ancestral roots.

Though she’d been writing songs in her head since she was six, and on the guitar since she was 12, it took a long time for Nilüfer Yanya to work up the courage to show anyone her music. “I knew I wanted to sing, but the idea of actually having to do it was really horrifying,” says the 23-year-old. When she was finally persuaded to do so, by a music teacher in West London where she grew up, she says “it was horrible. I loved it”.

It was on a mountainside in Cumbria that the first whispers of Cate Le Bon’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lake District which gave way to Reward. By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second-hand Meers — the first piano she had ever owned —for company, “windows closed to absolutely everyone”, and accidentally poured her heart out. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date.

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