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Released in the UK in January 1967 by Decca Records and February by London Records in the US – Between The Buttons was the Stones’ fifth British and seventh US studio album. Released as the follow-up to Aftermath, this album marked a high point in the band’s career, continuing their ventures into psychedelia and baroque pop balladry, it is among the band’s most musically eclectic works. Brian Jones sidelined his guitar on much of the album, instead playing a wide variety of other instruments including organ, marimba, vibraphone, and kazoo. Piano contributions came from two session players: former Rolling Stones member Ian Stewart and frequent contributor and studio legend Jack Nitzsche. It was the last album produced by Andrew Loog Oldham, the band’s manager and producer of all of their albums to this point.

The album has one of the most striking sleeves of the period, featuring a classic Gered Mankowitz image on the cover. The photo shoot took place at 5:30 in the morning following an all-night recording session at Olympic Studios. Using a home-made camera filter constructed of black card, glass and Vaseline, Mankowitz created the effect of the Stones dissolving into their surroundings – according to Mankowitz… ""to capture the ethereal, druggy feel of the time; that feeling at the end of the night when dawn was breaking and they’d been up all night making music, stoned.”

The songs continued Aftermath’s lyrics of acute social observation and savage insight, their earlier raw, rootsy power enhanced by other influences of the period – notably The Beatles, The Kinks, and again Dylan. It is one of their strongest, most varied LPs, with many great songs that remain unknown to all but Stones devotees.
The inventive arrangements and innovative instrumentation on brooding near-classics like All Sold Out, My Obsession and Yesterday’s Papers brought a new dimension to the music. She Smiled Sweetly shows their hidden romantic side at its best, Connection is one of the record’s few pieces of more conventional driving rock and album closer Something Happened To Me Yesterday includes Keith’s first solo vocal.

The US version includes contemporaneous hits – the two songs that gave the group a double-sided number one in early 1967: the shameless and controversial Let’s Spend The Night Together and the beautiful, melancholy Ruby Tuesday.

Four essential UK lovers rock / dub selections from the late 70s and early 80s featuring the sought after vocal cut ‘Our Tune' by Marie Pierre produced by Dennis Bovell and the Fender Rhodes laced heavyweight rhythm cut ’Fe We Dub’, featuring trombonist Henry Matic - Both originally released on Patrick Cann's PC Music imprint reissued here for the first time from studio tapes placed alongside Elizabeth Archer & The Equators classic reggae cover of ’Feel Like Making Love’ back-to-back with the dub ‘Version’ aka ‘Feel Like Making Dub’. Cut loud on 12” single for the first time.

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Welshly Arms is an American blues rock band from Cleveland, Ohio, United States. The band has been active since their debut in 2013 with the EP Welcome. The following year, they released a covers EP and in 2015, an album titled Welshly Arms. The band writes, produces, and records all of their material in Cleveland. TV PROMO: “Dangerous” TV sync on Love Island RADIO PROMO: Regional radio plays PRINT PROMO: Classic Rock review, hotlist feature and high hopes feature. Daily Star feature, Fireworks review, HRH magazine feature,
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Extremely limited collectors edition of Atom™ & Tobias.' Toolbox Series (Cuando, Zahlenraum & Enne) released on Pomelo (POM45-47) with a Dextro-designed cover.

Als "Mr. Isaacs" 1977 erstmals als LP-Vinyl erschien, war der Grundstein für die internationale Karriere zum Superstar des Reggae gelegt. Unter der Federführung von Produzent Ossie Hibbert und seinen Musikerkollegen von den Revolutionaries wurde der Interpret Gregory Isaacs zum Markenzeichen im Albumformat! - Mit einigen seiner größten Songs wie "Set The Captives Free", "Slave Master" (im Kultfilm "Rockers" prominent vertreten), "Storm" (der Riddim kommt in über 75 Versionen zum Einsatz), "Smile", "Get Ready" (Reggae-Cover des Rare Earth Hits), kommt der Longplayer dieser Tage als Kevin Metcalfe Remaster als 9-Track Originalalbum in einer Fan-Edition mit Sleeve Notes und bedruckter Innenhülle inklusive großformatiger Fotos.

Among the most important full-length album works from one of reggae’s greatest singers, "Mr. Isaacs" shows the great Gregory Isaacs in the prime of his career in 1976/1977. Better known for his love songs, Isaacs was equally adept at cultural themes. The tracks "Set The Captives Free" and "Slave Master" are among the most popular in his catalogue, the latter immortalized on film in the movie 'Rockers'. The track "Storm" became an early favourite in the dancehall, its rhythm track (aka the Storm riddim) is re-imagined no fewer than 75 times over the last 40 years. Gregory Isaacs love of Rocksteady shines in his cover of the Silvertones’ "Smile", and his soulful side comes through on a cover of The Temptations’ "Get Ready". The breadth of material on "Mr. Isaacs" is the hallmark of a reggae classic!

Further facts and collector's info:
- The album was one of the first titles ever distributed by VP Records, "Mr. Isaacs" reissue coincides with the label’s 40th anniversary celebrations.
- This pressing features the earliest known cover art and producer Ossie Hibbert’s original Earthquake labels, as found on the pre-release edition.
- "Mr. Isaacs (Remastered)" comes with a printed inner sleeve featuring extended liner notes by Harry Hawke plus a great artist photo on the other side

Nearly five years on from their acclaimed debut, Bennett Wilson Poole reveal the follow up. It's been a long time coming, but...

That eponymous first album was only ever intended as a one-off collaborative project — a serendipitous series of events which began with a late evening session where the trio wrote ‘Hate Won't Win’. A response to the murder of MP Jo Cox, it was something of a fresh take on Crosby Stills Nash and Young’s classic protest song ‘Ohio’. The release saw Bennett Wilson Poole embraced by the Americana community, playing live on the Andrew Marr show and crowned as ‘UK Artist of the Year’ at the 2019 UK Americana Awards, in front of a watching crowd including Graham Nash himself.

The new album came together in similar fashion; Robin (Bennett) and Danny (Wilson) started writing new songs late into the night whilst on tour to promote the first record — a tour which unfolded from a three-night residency in a London pub into a year-long odyssey culminating in a headline show in Hall One at King’s Place — and before they knew it, there were enough songs to begin recording an unplanned second album.

Where the first record drank deep from 70s US west coast folk-rock, the second has been heavily spiked with 1960s British psychedelia, even featuring a cover by legendary counterculture artist John Hurford (whose credits include 60s artwork for Oz Magazine and International Times).*

Tony Poole’s meticulous and inspired production has spun Robin and Danny’s fresh batch of songs into a delicate web of musical delight. Fans of the ‘spot the reference’ game Tony started on the first record won’t be disappointed this time either, as there are plenty more to be found here.


As with the first album, the lyrics don’t shy away from current affairs – by the end of that year of touring, the band were already playing “I Wanna Love You (But I Can’t Right Now)”, reflecting on the state of US politics, yet optimistic that the problems are only temporary.

Many of the tracks on the new album feature live rhythm section Fin Kenny (drums) and Joe Bennett (bass) for the first time on a BWP record.

The title of the album comes from the lyrics of ‘Help Me See My Way’, the first single, a prayer for strength in difficult times, the trippy animated video for which was originally issued during lockdown. The dreamy positivity of the line "I saw a star behind your eyes" is tempered with the plea "don't let it die away", a message which feels as important as ever two years on.

All three collaborators have had critical acclaim in their own right. Danny Wilson’s credentials go back to his days in Grand Drive with brother Julian, and his consistent high calibre output with his Champions of the World led them to sweeping the board at the first UK Americana Awards with Album, Artist and Song of the year awards richly deserved; Tony Poole’s Starry Eyed and Laughing were hailed as “the English Byrds” on the back of their two CBS-released albums in the mid-seventies and he has since built an enviable reputation as producer and engineer; Robin Bennett has been relentlessly turning out timeless songs from his Oxfordshire base in bands from Goldrush to The Dreaming Spires

After almost two years of work, we're glad to invite you to a new journey through the fog of time and enjoy the upcoming reissue of the great Ambient/Folk record from 1984. A well-known to collectors but extremely rare record by Jon Iverson a multi-instrumentalist from Palo Alto and his college friend, mandolinist Tom Walters. They shared a love for singer/songwriter fare and gigged around campus playing covers of Neil Young, CSN, and Loggins/Messina in the late '70s.
"First Collection" was recorded during the Spring of 1984 in a small garage that had been converted to a one-room apartment in the seaside community of Los Osos, California.
With an instrumentation of 12-string guitar, piano, mandolin, analog synthesizers, and sampler, the duo has recorded nine bright, weightless, and diverse compositions where electronic experiments mix with ethnic rhythms, sweeping through inspired folk reminiscent of the work of William Ackerman, John Fahey, Master Wilburn Burchette, and Robbie Basho, to homemade pastoral space folk exuding sophisticated, pale, lunar sonic moods that somehow might remind of the work of Roedelius from the early 80s.
Equipment used for tracking included a rented 1/2" 8-track Otari MX5050 analog tape machine and assorted mics. With only a few thousand albums pressed, First Collection has become a collectable in some circles.
Now, almost forty years later, First Collection has been remixed and remastered from the original 1/2" tapes for this release.

Cairo, late 2013. In a city in turmoil, where the curfew had just been lifted after a second coup d'état, where the walls were still covered in dreams and revolt, where even the clubs of the city-centre echoed with anti-Islamist and anti-army slogans, I was deeply touched by the voice of Abdullah Miniawy at the 100Copies music studio, a stone's throw from Tahrir Square. A singer, writer, poet, poetry-slammer and student from the El-Fayoum oasis, this spokesman for Egyptian youth was shaking up the music scene and social networks with his hypnotic voice and unique blend of electro, sufism and jazz music, both punk and psychedelic, secular and avant-garde. Three months later, Abdullah's first on-stage revelations took place at the La Voix est Libre festival in Cairo with the "Jimi Hendrix of oud", Mehdi Haddab, followed by his first meeting with composer and saxophonist Peter Corser at the D-CAF festival (Downtown Contemporary Art Festival), created in the aftermath of the revolution by leading figure in theater Ahmed El-Attar. After three years of administrative battles, while censorship was making a comeback in Egyptian artistic circles, Abdullah finally arrived in Paris where he recorded an initial version of Purple Feathers with Peter Corser, which was broadcast on Soundcloud.

In 2017, gripped from the very first seconds by these soaring vocal and instrumental performances, Erik Truffaz accepted our invitation to become involved with Peter's hypnotic loops and Abdullah's electric vocals, and was soon joined by the visceral strings of cellist Karsten Hochapfel. Five years later, Le Cri du Caire is still turning heads, and often moving audiences to tears. Both free and spiritual, sensitive and elusive, their music elevates the soul to giddy heights and flies towards what may well be one of the shortest paths from zero to infinity.

There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that_they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé_who were already one of Colombia's most prominent alternative acts_have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooko_a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente_and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of sound systems around the globe.

French electronic producer Blutch is back with another supremely trippy EP “Condate” on home label Astropolis Records, featuring a remix from Azo.

This Brittany native has a broad, borderless sound that mixes up electronica, breakbeat, house and IDM with stirring emotional undercurrents that range from nostalgia to melancholy. Last year he served up his superb ‘Terre Promise’ album on the label, and once again, it combined a raft of different sounds on one majestic record. He again shows off his ability to layer captivating melodies over compelling rhythms on this fresh new EP which extends his LP released last year with a more dancefloor suite. "Condate" is the original name of the city of Rennes in Brittany, France, where he lives. A city he loves passionately. The tracks featured in this EP are mainly taken from his live act "Terre Promise". The cover artwork also comes from the audiovisual live act: a motion design work made by Romain Navier, mixing landscapes from Brittany and hallucinated 3D creations, dressing Blutch's stage with a fabulous work around the album's theme. These tracks represent the more festive part of the live show, just as Blutch's love for Rennes is also linked to its festive character.

First single ‘Condate’ is a physical cut driven by a slick breakbeat. Melodic rain falls down the face of the track as booming bass roots you to the dance floor, and once again, the whole track is doused in heavenly synth work and subtle waves of euphoria.

‘Condate’ is a perfectly impactful EP, both physically and emotionally. The EP drops on the 24th March (vinyl/digital).

Star Funeral is the full-band solo project of Nikki Es- posito. Stepping into the spot light from behind the bass in Secret Tapes, Esposito adds guitar and lead vocals to her list of duties while drums are handled by Ethan Kreidemaker. Sonically, Star Funeral walks a fine line between pleasant and somber tones- dreamy guitars splash through plodding bass and drums with Esposi- to’s vocals driving them forward through a flurry of aching longing and regret. This is indie rock at its finest and Star Funeral feel set to be a standard bearer for a long time. “In the Dark” came together in 2020 after urging from close friends and producer Billy Mannino (Bigger Better Sun, Oso Oso). Singer/multi-instrumentalist Nikki Es- posito built this solo project from the ground up, per- forming all instruments alongside Ethan Kreidemaker’s studio percussion. It’s a lightning bolt of intensity and harrowing growth set to honor and expand upon her primary influences, a flash of self-understanding while re-entering a lightless era. Star Funeral’s debut is a potent discovery of new ways to shoulder old wounds, such as the murmurs of body dysmorphia trailing be- hind double-jaw surgery (“Mouth Bleeder”), the lack of closure in lost friendships (“Outgrow”), and the anxiety of letting others in after these hurdles (“Breather”).

* "The Ape of Naples” is a deeply emotional and uniquely rewarding album. In its immediate accessibility it is somewhat reminiscent of their mid-1980s classic “Horse Rotorvator”
* The Infinite Fog version is the third Coil record receiving the fully remastered and enhanced 3LP/2CD treatment supervised by Danny Hyde.
* Includes 9 additional rare or unreleased tracks.
* All of the original material has again been carefully and sympathetically remastered by Grammy-nominated engineer Jessica Thompson who has been previously lauded for her splendid job on its sister release “The New Backwards”.
* The 3LP comes in heavy trifold cover, CDs in 6-sided Digpaks with booklet and posters.

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things

Calisthenics is the first album by Institute for Certified Nomadic Illicit Sonic Practices (ICNISP), the Berlin-based duo of Brazilian musicians Marina Cyrino (flute) and Matthias Koole (el.guitar).

With a mixture of electronic and acoustic sound sources, objects and preparations, inside amplification and no-input mixing, the duo leads guitar and flute towards a common hybrid terrain. Sound perspectives are shifted, instrumental identities are displaced. The piccolo can function as a noise generator and a percussion instrument, the guitar can sound like a bird, the alto flute can be played by an external balloon that moans. Partly inspired by drawings of the Handbook of Calisthenics and Gymnastics: A Complete Drill- book with Music to Accompany the Exercises by J. Watson, first published in 1864, ICNISP came up with a series of musical exercises to stay healthy and fit during the several lockdowns over the past few years. In a playful way, the title Calisthenics also translates an agitation present in many of the duo's energetic playing modes.

On Side A, Calisthenics comprises 7 tracks - or exercises - of different lengths, with a focus on specific instrumental materials or preparations. Side B consists of one track in which a larger form unfurls, with elements of the exercises concatenated into a Full Arch.

No cuts or overdubs.
Marina Cyrino - Amplified Piccolo and Alto Flute.
Matthias Koole - Electric Guitar.
Recorded and mixed by Rabih Beaini at Morphine Raum in Berlin.
Mastered by Paulo Dantas in Rio de Janeiro.
Cover art by Sara Lambranho.

Oh YASS! A GOSPEL inspired album recorded in January 97 with guest MR QUINTRON on Hammond church organ & piano! 5 originals plus 3 covers of OLD gospel traditionals AND a stormin' cover of YOUNG JESSE's "Mary Lou"!

Recommended If You Like: Boredoms, OOIOO, Blonde Redhead, Guerilla Toss, Rolling Stones, Liars, Marnie Stern, Yoko Ono, Battles. Cover by acclaimed photographer and artist Kunie Sugar White Vinyl / White Cassette available while stocks last. Did you know that miracles happen every day? We don’t always see it that way. We look at the state of the world and think, “It’ll be a miracle if we make it out alive.” But miracles are what humans do. We’re Earth’s most inventive and unpredictable species, when we’re allowed to be. Also the most destructive. Miracle-Level is Deerhoof’s mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, Miracle-Level is vulnerable, brave, and brimming with spicy surprises. Deerhoof’s 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba. This is also their first album written entirely in Satomi’s native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.

Liverpool-born drummer Aynsley Dunbar was one of the most respected musicians on the international rock scene of the late ‘60s. His work with trailblazers such as John Mayall, David Bowie, Lou Reed and Frank Zappa, with whom he had a lengthy association, have assured his place in history. But Dunbar also laid down a marker as a bandleader in his own right. His debut album, Doctor Dunbar’s Prescription was a confident set of electric blues that was full of snappy tunes and high energy riffing. Recorded in 1971, Blue Whale is considerably more experimental, though. It is really a case of Dunbar drifting towards a hybrid of progressive rock and pyschedelia not far removed from Zappa’s surreally comic, bitingly sardonic world. And indeed the cover of his seminal ‘Willie The Pimp’ is one of the highlights of the set. Accompanied by excellent rhythm section players and soloists such as guitarists Ivan Zagni and Roger Sutton, bassist Peter Friedberg, pianist-organist Tommy Eyre, and vocalist Paul Williams, Dunbar hit a creative peak here that is emphatically maintained elsewhere on the album, which has mostly long pieces full of notable light and shade. This newly re-mastered version of Blue Whale puts one of the highpoints of Aynsley Dunbar’s illustrious career back under the spotlight. He was rightly inducted into the Rock & Roll Hall Of Fame in 2017 and there could be no more fitting example of his achievement than an album that sounds impressively fresh 50 years after it was made.

‘Sinking Ships’ is the much anticipated seventh studio album from the acclaimed Alberta Cross. A gorgeous 10-track collection of modern indie-rock including an irresistible cover of Sharon Van Etten’s ‘Every Time The Sun Comes Up’.

The album is at times expansive & subtly anthemic, beautifully mellow, folk-tinged and awash with a layered, maximalist sound that variously recalls The War On Drugs, Bon Iver & Phosphorescent. At all times, lead singer Petter Ericson Stakee’s un-mistakable high-vocals, which have at times been compared to Jim James & Neil Young, soar through the music – particularly on album stand-outs ‘Mercy’ & ‘Glow in The Dark’.

The album was written mostly at the legendary The Wool Hall in Frome Somerset with Petter’s long term producer and collaborator, Luke Potashnick - who recently bought and renovated The Wool Hall (legendary in part due to Van Morrisson and Tears for Fears recording albums there).

Before MF DOOM donned his mask and became one of the most prolific MC-producers of modern Hip-Hop, he was a member of KMD, an early ‘90s rap group whose work still goes criminally under-appreciated to this day.

Following their 1991 debut album, Mr. Hood, the former trio shed one member leaving only two remaining – Subroc and his brother, Zev Love X (better known today as MF DOOM). Originally scheduled for release in 1994, their sophomore album Black Bastards showed clear progression from their debut. It was a truly amazing record, both sonically and lyrically, full of youthful creativity and tinged with the stresses of growing up as Black men in urban America. Songs like the lead single “What A N*gga Know”, the slippery, bass-driven “Get U Now”, and the album’s title track explore Black consciousness viewed through young-but-experienced eyes. Musically alternating between bouncy and raw – many times both, concurrently – the tracks gave the MC’s the springboard they needed to express themselves clearly.

Sadly, Subroc would face a sudden and untimely death in 1993, just as the duo were finishing the album. Grief-stricken, his brother Zev Love X – now the sole remaining member of the group – was determined to carry the legacy of KMD onward, but Elektra Records unceremoniously shelved the project in the eleventh hour, due to controversy surrounding the album’s provocative cover art. Following the fallout with Elektra, Zev tried for years to release the album on other labels, but he was continually met with dead ends. Struggling through the pain of losing his brother, coupled with the inability to release their final project together, a discouraged Zev Love X quietly withdrew from the scene and began quietly plotting his revenge on an industry that had broken him spiritually. Thus, in order to understand the true origin story of the super-villain, MF DOOM, one must recognize and appreciate the evolution of his former group, KMD, and the backstory of their pivotal album, Black Bastards.

Terra Magica Rec. first 7’’ release „Chiqui Tan“ by the label heads Hektisch Sprengen DJs will be limited to 250 copies. The A-side hits the listener with some 1980s early Electronic-Downtempo-Cumbia-Colombian-Venezuelan-Tablemountain-Dub-Grooves. This reminiscence is leading to an extra full blown up 21st century Bass-Queen alert. And these HSDJ dials hit you into a stripped naked sample of Nigerian-Swedish DJ-dentist-mainstream-star Dr. Alban and his Eurotrash-90s-Pophouse-anthem “No Hash Hash, No Cocaine”. This is for sure no “Ottonormal”-90s-revival thing!

On the flip side Hektisch’s haptic wood razzle move covers the classic 1994-Liquid-Deep-Netherlands-Trance-House-Track “Paper Moon” by 51 Days which back then sampled the rare 1972-MPB-Funk-Cover-Version of Carol Kings “Corazón”. Guess what! It drops like a late 1990s-Ed-DMX-London-classic gone Electroboogie-Miamibass-Break with a SH101-baseline and Sprengen’s take on Spanish-90s-Trance-Vocals. Watch out 4 TERRAMs “Asi me gusta” title caps series as well! Trigger warning: That hidden Sequential Circuit Sixtrack loves you like a windy horse on Acid. Loads to experience on this little innocent wax disc!