Buscar:7 beats

MLD (Minimal Lethal Dose) was a Japanese project lead by Takayuki Shiraishi after his first mythical release with BGM on Vanity Records in 1980. Made with the help of Jun Sonohara it was active between 1983 and 1986 in Tokyo. This compilation collects nine unpublished tracks from the original tapes and confirms his unique offbeat style ranging from Post-Punk, Dub, and Industrial.

MLD (Minimal Lethal Dose) was a Japanese project lead by Takayuki Shiraishi after his first mythical release with BGM on Vanity Records in 1980.

Made with the help of Jun Sonohara it was active between 1983 and 1986 in Tokyo.

This compilation collects nine unpublished tracks from the original tapes and confirms his unique offbeat style ranging from Post-Punk, Dub, and Industrial.

It's completed by "Perpetual Motion" and "Dynamo" previously released in 1983.

With his quirky approach, this record unveils another piece of Japanese experimental music history.

All these tracks have been carefully remastered by Krikor Kouchian.

Crepuscule presents a brand new collaborative project by Julie Campbell (aka LoneLady), Stephen Mallinder (Wrangler, Cabaret Voltaire) and Benge (Wrangler, John Foxx). Titled Clinker, the first 800 copies of the 6 track mini album have been pressed in turquoise vinyl.

‘The project began a couple of years ago,’ explains Julie. ‘Benge had these great sketches that were beats and synth patterns, so those were the starting point. I really went to town adding lots of guitar layers and experimenting with different sounds. On some tracks the guitar is deft and rhythmic, as if mimicking sequencer patterns. On others it’s a deconstructed noise-based approach - scratching strings, making fitful, heavy chunks, howls and scrapings of noise and texture.’

Due to competing solo commitments for all 3 members the tracks disappeared into hard drive exile for a couple of years. Julie continues: ‘Last year we revisited the mixes and Stephen added his trademark mysterious and menacing vocals. Now we find ourselves with a finished piece of work. I thought of the name Clinker as I love its meaning: 'stony residue from burnt coal'. This seemed liked an apt description of both industrial and creative processes, and a nice nod to the industrial North of England.’

Stand-out tracks include Camouflage and Condition Collapsing. ‘I’d forgotten how liberating it is to play bass guitar on something,’ enthuses Mal. ‘It compliments Julie’s beautifully angular guitar, and Benge and me ripping up live percussion onto the sound of machines… As a collection of tracks these benefited from a lengthy gestation, as they follow no particular trend and were allowed to twist and turn to develop a life of their own. After successive cycles we suddenly drew it all together so the tracks have a sense of completion and identity.’

‘The real fun for me was during the mixing process when Mal and I looked at each other as the rawness of the tracks hit us on the big studio monitors,’ adds Benge. ‘We knew we had something untameable, and wanted to preserve that feeling of edgy rawness in the mixes.’

The cover image is by Julie Campbell, with overall design by Twilight. The vinyl edition comes with a digital copy (MP3).

After two years in the making, Tambour Battant delivers its new album "Galore", 13 tracks that outline the contours of genres and reinvent them. Very eclectic sounds makes this new album: from Brazilian-flavored tracks with the artists Flavia Coelho and Faktiss to heavy-weighted Trap beats with Miscellaneous (of Chill Bump) and Jman. On the other tracks, the duo takes us on an electrifying ride that will pleased all the lovers of heavy bass and powerful kicks. As its name suggests, this new album "Galore" is distinguished by its profusion of styles and influences.

For the original artwork of this new album "Galore", the duo appealed to Pablito Zago, a famous street artist / illustrator who brings his style rich in colors and collages to this album more than explosive!

Summer was conceived as an entry point for Sonae to access and wrestle with difficult themes, to engage with them authentically, artfully, personally. It was also the starting point for a collaborative audio-visual project with video artist Jennifer Trees (the confronting multimedia installation that premiers in September 2021 at Stadtgarten, Cologne).

Summer articulates these ideas using the unique musical and sonic language that Sonae has been developing across previous releases. The expressive textures and tender melodics of 2015’s Far Away is Right Around the Corner; the atmospheric noise and brute unease of 2018’s I Started Wearing Black; the vicious edges of her 2019 remix-tape Music For People Who Shave Their Heads. Summer is haunted by blistered cellos and spectral string drones, the elegant and emotive movement around diatonic harmonies that echo the classicism and bucolic themes of Vivaldi’s The Four Seasons (1775). Like Vivaldi, Sonae’s work is programmatic, presenting a progressive, intensifying narrative and suggesting aural phenomena of the natural world - buzzing insects, breaking rocks, waves crashing, dust and heat rising - and characterising the seasonal spirit as capricious, volatile and punishing. In these ways, Summer is related to pastoral traditions of European classicism, evoking the aura of doomed and dust-blown gothic grandiosity. It also has feet firmly planted within the lean, sound worlds of underground techno - pulsating four-on-the-floor beats with deep, vibrational sine-wave sub kicks; elegantly bleak, distorted atmospherics that straddle the uncanny space between corrosion and euphoria. The result is a visceral and poetic listening experience. Original, highly affecting, fully engaging body, mind and soul. (…)

Sonae’s music evokes imagination, provokes emotion, and disrupts and defies expectations. She explores the edges and intensities of experience, creating audible and embodied sensations that suggest the physical, atmospheric, and psychological effects of global warming on a living organism. We feel the fatigue, the slowness, sweatiness, dizziness, the sensations of uncomfortable warmth and burning; the atmospheres are hazy, dark and heavy, articulations are brutish and tactile, crunchy and sharp; there is restlessness and resignation, desolation and awe.

Summer is not a warning. It is not an explanation or an argument. It offers no answers. Summer simply holds up a mirror and asks us to experience and behold both the beauty and the brutality of our present reality. It is a work of protest, grief and hope, and it functions as a space for the listener to reckon with these truths and sensations for themselves. (Leah Kardos, London, June 2021)

Sonae (Sonia Güttler) is a German electronic producer and DJ, based in Cologne. Her acclaimed debut album was released in 2015 with Monika Enterprise (Berlin) followed on the same label with her second album in 2018 : ‘’I Started Wearing Black’’. Her Third album ‘’Music For People Who Shave Their Heads’’ has been released in 2019 with bit-phalanx (London).
Sonae plays live solo and with the label collective Monika Werkstatt at places like Institut Für Zukunft (Leipzig), Meakusma Festival (Eupen), Ausland (Berlin), Pop Kultur Festival (Berlin), Fusion Festival (Germany), Uh-Fest (Budapest), Cafe Oto (London), 23rpm Festival (London) The Cube (Bristol) and more on the same bill with Squarepusher, Plaid, Darkstar, Kyoka, Frank Bretschneider, Tim Exile.

We are always happy to throw you a curve ball, Athens of the North have an LP of our catalog flipped by Scottish beat Maker / Hip-Hop producer extraordinaire Jaisu.

We have always been a huge fan and sorted Jaisu with records whenever he popped down the office for a chat. One day early this year in full covid gear he came down to the studio with some beats from our previous releases and immediately I was like "Man do us an LP" and so the project was born. Jaisu took arms full of vinyl back to his studio in Niddrie and started feeding his MPC.

Erneut ist der Detroiter Selektor, Produzent und Labelbesitzer (Pure Sonik Records) DJ T-1000 auf BPitch Berlin gelandet, diesmal mit „The Dirrty Underground EP“, einem dreckigen, stampfenden und perkussiven Back-to-Basics Techno 4-Tracker.
DJ T-1000 a.k.a Alan Oldham ist eine zentrale Figur der Techno-Geschichte. Der in Detroit geborene und in Berlin lebende DJ begann seine Karriere in den frühen 90ern mit Underground Resistance und ist ein äußerst vielseitiger Produzent, dessen Musik auf zahlreichen Labels wie BPitch und Tresor erschienen ist. Hinter den Kulissen betreibt er legendäre Detroit-Labels wie Generator, Pure Sonik und Detroitrocketscience. Gleichzeitig hat er als Grafiker und Illustrator ikonische Cover- und Merch-Artworks für Djax-Up-Beats, +8, Transmat und viele mehr entworfen.

Der Klassiker des einstigen Pfarrers und Kreuzzügler des Allgemeinwohls PASTOR T. L. BARRETT & THE YOUTH OF CHRIST CHOIR von 1971 gilt bis heute als der heilige Gral des Gospel-Soul. Mit dem seinerzeit selbst veröffentlichten Werk des JESSE JACKSON JR.-Mitstreiters demonstrierte BARRETT seine Leidenschaft für die Musik, seine wilde Entschlossenheit, Kinder vor der Straße zu bewahren und sein Talent für mitreißende Predigten (die nebenbei Künstler wie EARTH, WIND & FIRE und DONNY HATHAWAY dazu brachten, seine Kirche zu besuchen) mit einem Album, das vom Chess Records Saxophon Helden Gene Barge und einer Reihe von Musikern wie Richard Evans, Phil Upchurch und dem stürmischen Gesang des YOUTH FOR CHRIST CHOIRs profitiert. Heilige Grooves, Breaks, Beats und Lobpreisungen mit eingängigen Refrains. Chicago pastor and activist T.L. Barrett's rare gospel soul classic Like A Ship. (Without A Sail) is one of the holy grails of gospel soul. Self-released in 1971, Like A Ship was the result of Barrett channeling his passion for music, a determination to keep children off the streets, and his charismatic preaching (which attracted the likes of Earth, Wind & Fire and Donny Hathaway to his sermons at Mount Zion Baptist Church) into the production of the album, a project bolstered by the saxophonist and arranger Gene Barge of the famed Chess Records, and backed by a cast of players that included Richard Evans, Phil Upchurch and the rapturous vocals of the Youth For Christ Choir. Like A Ship... is filled with sanctified grooves and spiritual praise delivered with a righteous, infectious chorus.

Luxembourg based Persian producer SCARLIT PORT delivers a new EP of uncompromisingly violent power electronics techno titled HIGHNESS HOMA for Megastructure_

Creating an aggressive counterpoint to his previous releases, “Highness Homa” features 4 racks of aggravated industrial body techno with massive sounds for listening both on and off the dance floor.

The record starts with the 145 bpm pounder “Highness Homa”. The intensity continues melancholically with the transcending As it Shall, driving the beats and hypnosis further with heavy-hitting percussion of “Haevenbeas”. The record ends with the bludgeoning track Mina’s Doom, created together with Blush Response – a smasher that keeps you at the edge of your seat!

This magnificent project was born in 2006 on one of the most famous labels in the world Mille plateaux . It was in 2006 and just in CD. It was important that a vinyl version existed.
Edith Progue is the project of Paris-based musician, Bernie Swell. After having formed izdatso as a gathering of musicians and visual artists in 1999, Bernie Swell has slowly but surely moved to a more minimal approach towards digital composing. Timeline consists of a chronological report of the different moods experienced by the composer over a 24-hour period of time spent in an apartment overlooking the dark waters of Canal St. Martin in Paris. The dreamy environment created by the melodic sound of an acoustic piano is only troubled by the intrusion of a few micro-electronic beats and sounds. The music was created as an attempt to reconcile the noisy environment that surrounds day-to-day modern urban life with the inner peace that can eventually be found through meditation. While listening to these pieces, you might leave the TV or radio on, or hear a cell phone's new message alert, a fridge sub-bass might rumble or, more simply, an opened window on a busy street would constructively mix with these hypnosonic soundscapes, revealing the hidden art behind any intruding noise/sound manifestation.

After more than 20 years in the business, HD Substance is still here as a full actor in the global scene.

Missing Link is a three-track EP, printed on Vinyl, signing and opening our new Vinyl release series.

TTR006 is a sophisticated piece by HD Substance, delivering Beats & Pieces 7 and 8, which are techno hypnotic vibe tracks with an electro touch; to complete the EP, we have an outstanding breaky electro track called Lady On The Floor.

Green Vinyl Repress -

Serum returns to Critical with his first ever solo single for the label. Raw beats and bass, serious sounds with tongue firmly in cheek.

MILKY CLEAR VINYL.

''The lightness of the C86 Sarah Records guitars come with the significant counterweight of more ominous Factory Records basslines.The lyrics and vocals are stark, sandpapery and sardonic, akin to Jonathan Richman, Kiwi Jr and, Bodega.'' Ducks Ltd. - EP Review - God Is In The TV
Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

MILKY CLEAR VINYL.

''The lightness of the C86 Sarah Records guitars come with the significant counterweight of more ominous Factory Records basslines.The lyrics and vocals are stark, sandpapery and sardonic, akin to Jonathan Richman, Kiwi Jr and, Bodega.'' Ducks Ltd. - EP Review - God Is In The TV
Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

Stuart Evans, aka Sordid Sound System is one of the founders of The Green Door Studio, a not for profit, analogue recording studio in Glasgow which emerged from an increasing disillusionment with the modern ways of music production. His sound holds outsider qualities, being everything but generic and predictable, mixing dub with movie soundtracks in the tradition of Carpenter and Italian likes.

On this 7” released on Höga Nord Rekords, SSS deconstructs and rebuilds music in an imaginative style, pairing tribe-ritual “back to ape”-beats with synthesized cosmic harmonies. In a way, we are enjoying straight up dub here but this record is also a display of the vivid and creative Glasgow scene centred round “The Green door studio” and record labels like “Invisible Ink” where krautrock and 80’s/90’s electronic music is part of the foundation. Boundless joy for every girl and boy!

10 tracks of beautiful Hip Hop music produced by Vienna Producer Mez & French producer 20Syl.

"We made this album after running into each other on tour in Brazil then again in France. We kept talking about needing to do a project together then eventually met up on my homies farm in Southern Oregon in the U.S. and made this record. Being in the same space and recording in the age of sending verses back and forth seemed a bit crazy in a sense but we really wanted to catch a real vibe of 2 mc’s in sync and where a real moment and connection was captured. We spent 7 days eating bomb food, living, laughing, writing, recording, and just vibing.

We asked for beats from a bunch of folks but ended up feeling the overall vibes of Mez, a Vienna based producer who I previously worked with on my solo material and whose beats just hit us and Rita as the perfect instrumentation to the album we wanted to create. The incredibly talented homie 20Syl (Hocus Pocus, C2C, AllttA) who I also had worked with before and who Rita collaborated with on his group's (C2C) album came in with 2 joints to round it out. We also got some amazing features from our folks Destani Wolf, Wes Restless, and the ever dope Georgia Anne Muldrow."

LP Vinyl include two exclusive remixes by Moar & Mossy P

This summer, Saft welcomes Dubbyman after a three-year hiatus from releasing music. He serves up a gorgeous new EP in the SAFTX series that features a remix from Detroit mainstay FIT Siegel.

Dubbyman is a master of the deep. As a DJ and producer, he explores warm and heady soundscapes that are rooted in house and techno but decorated with much more. His musical synths and compelling rhythms have resulted in countless vital EPs on labels like Ferrispark, Soul People Music and the Deep Explorer label he co-runs. Now, after a break, he is back and in brilliant form.

Opener 'En La Ciudad' is an effortlessly loose and languid house track. The hip-swinging claps and funk bass riffs bring a sunset vibe, with wordless vocals from Carlito Brigante Rojo and dreamy pads really soothing the soul. Remixing is legendary FIT Sound label head, FXHE associate and pillar of the Motor City scene FIT Siegel. His famously no-nonsense approach results in a track here that is laced up with smoky soul. The dusty beats roll deep, the twisted synth work brings light and lush pads soften the whole groove with a real sense of heart.

"Up Again" strikes another perfectly seductive pose with its jazzy keys, soulful vocals, and rough-edged beats that make you want to dance. It's a tune packed with feelings and irresistible funk, and is sure to be the soundtrack to many outdoor parties this summer. The Deep Explorer Mix is a little more direct, with dynamic house drums, sunkissed motifs and warm pads taking you straight to the Mediterranean. Last of all, "Tropic" featuring Arturo Sanchidrian on bass is a downtempo classic, with beachy vibes, gently breaking synth waves and soft-focus melodies sinking you deep into a
reverie.

This is an EP of life-affirming, heart-warming house sounds that take you to a better place.

Keeping the faith and facing the future, Times Are Changing puts a full stop on pandemic talk for unstoppable indie-pop four-piece Lottery Winners, as the four-piece release the fizzing anthem into a newly optimistic world. The first single from their newly


announced, upcoming, second studio album, Something To Leave The House For, the band has penned the soundtrack to hugging old friends, the rebirth of live music and those summer festivals just around the around the corner.

For front man and songwriter, Thom Rylance, working through the darkness of Covid meant surviving Covid, tying the threads of an unravelling mental state into a new body of work now emerging as bright, arms-aloft bursts of positivity. His famed ‘note to self’, the emotive An Open Letter To Creatives and the band’s sensational, viral collaboration with Nickelback with the Rock Star Sea Shanty were just two moments of levity in a time dominated by the dark clouds forming overhead. Now he and the band are moving on and moving up.

“If something so bleak and harrowing can hit us all, totally out of the blue, and change our lives, then by definition that must mean that something beautiful can too.” says bassist and vocalist, Katie Lloyd (bass and vocals) as Lottery Winners start the next leg of their adventure with Times Are Changing, reflective, ready to party and no less ambitious than before.

Their mammoth, 14-track new album, Something To Leave The House For, follows their 2020, self-titled UK Album Chart Top 30 debut with a Fri 24 September 2021 release via Modern Sky UK, promises to document the tumultuous times and the path back from despair. In true Lottery Winners style, every truth and life lesson is dressed in glass-half-full, wildly optimistic, radio-friendly pop, hip-swinging beats and bittersweet tenderness.

A killer but hard-to-find track, In Love was originally released on the highly respected Smallfish Records as a limited 500 12in: the current asking price on Discogs is around £100.

Now, In Love is re-released with some excellent additions as a new 4-track 12in EP 300 limited run.

Four tracks that mix Techno/Deep House groove with rock-solid bass, Spaced-out Dub, Detroit and Acid influences, all uniquely Vertical Cat.

In Love is a deep spacious roller with a delicious bassline and dubbed-out fx.

Snow Creatures is deeper still, more Electro but still solid and spaced-out as f.

Moss is a Detroit Techno masterpiece with Drexciya-tinged melodies and acid bass.

You Shocker! concentrates the Acid with sweet beats and dubbed daft vocal cuts.

Vertical Cat has released music on Vice, Smallfish, Sulphur, Projector and Achingly.

Artwork by Celyn: celynbrazier (Luke Vibert’s artist)

Following the footsteps of her SUPER MILD split album with TENTENKO (TAL15) from 2019, Tokyo producer KOPY makes a welcome return to TAL with a new EP full of gritty wonders and buzzing rythm structures. Eternal EP presents two of her new tracks plus luminous remix appearances by Elena Colombi, Harmonious Thelonious and Dynamo Dreesen & SJ Tequilla.

KOPY sums it up: "For Fujiko, I had an aggressive spaciousness in mind. The track LOK made me feel like my feet were firmly on the ground."

The pièce de résistance of the entire EP might be the extended reworking by Elena Colombi (Osàre! Editions), who in her debut appearance in the producer's chair offers up a cinematic bricolage, inspired by dreams and scraps of intimate, cartoonish ambiences. The eight minute long journey is full of space, swirling alarm clocks and candid evocations of imaginary creatures and environments crossed with diverse snippets of KOPY’s two original tracks.

Harmonious Thelonious who has already shared the stage with KOPY at Düsseldorfs Salon des Amateurs, contributes a trademark HT remix which combines infectious danceable beats with injections of oddness and raw beauty.

For their KOPY KONTRAST mix DD and SJT drew inspiration from a fulminant Kopy live set in Osaka which they had witnessed while being on a tour in Japan.

The 12"EP is lavishly presented, with a fully illustrated jacket and inner sleeve design by Sarah Szscesny.