Buscar:80s

KHT 008 is coming from no less than the man who is called The Prince of Techno' by his peers.
And that is for a reason: Blake was part of the first wave of Detroit techno artists and dis and contributed to the techno movement from the mid 80s. Tracks like When a dream becomes U' or Our love' are milestones of electronic music, his style, which he calls Poetry and Rhythm' is distinctive. For Killekill House Trax he delivers the Acid Life EP which comes along with two strong, acid driven tracks, the A-side darker and more chicago-oriented with its rhythmical focus and the punchy kick, the B-side more Detroit-ish with its uplifting chords.
Timeless!

A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track double EP that again shows they are masters of big hypnotic grooves.

Entitled Love by Machine, the album's name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today. That is all the more impressive when you bear in mind they have been active since the '80s, most often releasing on their own 430 West label, which is where they appear again here.

Say Lenny: We've been exploring the theme of connection with this project. How technology gives us the illusion that we are closer to each other more than ever. At some point humanity crossed a line where the devices that we created to bring us together are the same devices that are blocking us from organic experiences.'

Technology is only a tool, which we also had in mind during the recording process.' Adds Lawrence. We decided to go back to how we used to make our records, when we didn't have so many 'sophisticated' audio devices. Back to when we interacted in the studio together as musicians.'

Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don't Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel.


The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of (Where) Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans.

Pursuing their explorations of international Funk and Disco music, Favorite Recordings and Bruno "Patchworks" Hovart present us Voilaaa. With this first 2 tracks single revealing the Afro-Disco inspiration of this new experience, Favorite also expands its new series of Disco 12inch singles recently launched with several fine reissues.

Under the imprint of the label and after their long years of collaboration in the achievement of projects such as The Dynamics, Mr President, Mr Day, Patchworks Galactic Project, or Taggy Matcher, the insatiable French producer therefore returns to his first love and specialty, Disco music, staring this time at the African and Caribbean influences.

Indeed, as everywhere in the 70s and 80s, Funk and Disco movements were extremely influential in these regions, and in most cases, the combination of the festive, yet sometime futile nature of Disco, and the instinctive, deep, sometimes rough nature of African music, sounds like a perfect balance. Aiming to respect this energy and specific sound, Patchworks quickly began producing a few tracks, Using his unique and ruling beats and bass lines as foundations, this time he dresses all with guitars, keyboards and brass distorted with vintage and DIY effects pedals and boxes.

Surrounded by a very dynamic music scene, where there is no shortage of artists with African origins, Patchworks decided to work with local singers, even if it means to accompany them on unusual musical paths. A more than successful bet with a result surprising of authenticity, as it's unveiled by these first two titles alongside Sir Jean and Pat Kalla, both from a musical background as rich than different.

With an album planned for the end of the year, that promises to be as explosive and magnetic, Patchworks and Favorite Recordings make a strike again... Voilaaa tout (Thaaat's all)!!

To celebrate the 10th anniversary of the iconically brutal-yet-stylish Hotline Miami, the head honchos at Devolver Digital, Dennaton Games and Laced Records picked up the phone and made the call to bring back two killer soundtracks to vinyl.

This Standard Edition of the Hotline Miami 1 & 2: The Complete Collection 8LP box set includes traditional black vinyl.

Every in-game track from Hotline Miami and Hotline Miami 2: Wrong Number is present and correct, including Castanets’ “You Are The Blood” (not previously available via the HM2 Steam soundtrack release.) 76 tracks remastered for vinyl will be pressed to heavyweight LPs that come in spined inner sleeves, contained in a rigid board lift-off lid box with spot UV highlight.

Also included in the box are two 12” art prints of the front and back cover pieces, and a 50 Blessings symbol felt slipmat and metallic sticker.

The box set features brand new eye-exploding artwork by long-time Dennaton collaborator Niklas Åkerblad — aka El Huervo aka Beard — alongside illustrator -IZMA-. El Huervo’s grisly covers depict contradictory accounts of a berserk face-off between Jacket and Biker, replete with entrails. -IZMA-’s disc sleeves explore scenes from the series’ lore, tapping into the violence, psychedelia and nihilism that pervade its characters and themes.

10 years on, neon-soaked indie hit Hotline Miami has become a cultural touchstone in a way that few video games ever achieve — and the electronic soundtracks for both series titles are held up as modern classics that have transcended gaming. At turns brutal and laid-back, pulsating and aimless, coked-up and checked-out, these two ultracool compilations were at the heart of the retro-’80s synthwave scene that swept the Internet over the 2010s.

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

The new EP is released on limited edition 'Scissorhands Ice Blue' coloured vinyl with a hand-numbered gold riso print sleeve art with obi strip. Sarah/Shaun wooed hearts and wowed critics with debut EP It's True What They Say? in 2024 plus follow-up EP Someone's Ghost in 2025. They have been featured across the media including BBC Radio 6Music, BBC Radio Scotland, The List and The Skinny. They've played gigs supporting French legends Air, Glaswegian 80s pop legends The Bluebells, Glasgow's huge Glasvegas, a slew of venues across Glasgow and Edinburgh, not to mention the festivals: Kelburn Garden Party, Fringe By The Sea, Kendall Calling, Dunbar Music Festival and Hidden Door Festival. The duo are set to release a full length album in late 2026.


b A2 Heart Started Beating [Backwards] (4:10)
[c] B1 Desperation Looks Ill [From The Other Side] (4:26)


[b] A2 Heart Started Beating [Backwards] (4:10)
[c] B1 Desperation Looks Ill [From The Other Side] (4:26)

Bassbin-distressing late ’80s digital dub from The Disciples — highly regarded for their custom-built dubplate cuts crafted for the late Jah Shaka, for whom these tracks were originally recorded. * First appearing on the 1993 Jah Shaka label release `The Disciples Part 2 – Addis Ababa' in 1992, the tracks later resurfaced on a Disciples Vintage 10” in 2009, which quickly sold out.

MELODI is the debut full-length album from Norwegian artist Sommerfeldt; a collection that takes listeners through the artist's mind, inspirations, experiences, and travels.
With a 20 year track record and releases on labels such as Full Pupp, Paper Recordings, and his other home Badabing Diskos, this album showcases a playful approach to genre, where a tight drum machine groove forms the foundation of a colourful record that touches on ambient, '80s, new wave, deep house, balearic, and downpitched progressive trance from the early millennium (which Sommerfeldt himself highlights as his formative years).

The album has been four years in the making. Several of the tracks were recorded around the world on hardware samplers and synths; bird sounds and ocean waves were captured, processed, and later finalised in his studio in Oslo.
Joining him is a stellar team of contributors; Embla Maria, Sigmund Floyd, Toshybot, Guro Kverndokk, Kristian Solhaug and Magnus JJ, adding outstanding vocal performances, gritty guitars, and oval percussion, the original cover artwork signed by Sommerfeldt's own favourite artist, Quentin Desveaux.

All of this is woven together into a cohesive whole that will make you want to listen again and again.
The six track musical masterpiece is set for physical release May 29th 2026 on a bold orange 12"

■ Human is a deeply “human” cover album by Gota Nishidera (NONA REEVES), focusing on the world of 80s–90s Japanese kayokyoku and new music.
Following his well received 2023 solo cover album Sunset Rain, this new release features an unprecedentedly wide ranging selection of songs spanning works
by Kyohei Tsutsumi, Reiko Yugawa, and Eiichi Ohtaki, all of whom Nishidera either learned from directly or profoundly respects for their devotion to the study and
practice of pop music.

■ After experiencing major success across Asia including two China tours with NONA REEVES and solo performances in Taiwan Gota Nishidera revisited the essence
of Japanese pop music from a renewed perspective. The result is a meticulously crafted collection of eight ultimate tracks, tightly packed with the charm of Japanese
pop. Born in 1973, Nishidera absorbed the new wave of Japanese music that began in 1980 in real time, and here he updates that experience for the present day.
With arrangements and vocals filled with deep affection for the originals, he offers a modern and fresh reinterpretation of these classics.

■ The album is produced by long time collaborators Yuzuru Tomita, Tomoya Yamagata, and rising talent Yudai Ohi. On the track “Woman (from W’s Tragedy)”,
Nishidera performs a duet with Megumi Mashiro of Hicksville, a vocalist he has worked with for many years on NONA REEVES recordings and live shows.

■ Mastering is handled by ambient/balearic maestro Calm, delivering a stunning final sound.

■ The jacket design is created by Keita Fukumi, producer of the YouTube channel Gota Nishidera Channel NGC. Shot at Nishidera’s local barbershop in Sangenjaya
during his usual haircut, the artwork vividly captures the “human” essence at the heart of this project."

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.

Neon Electronics presents “Liberation”, the final chapter of the project born as the successor to The Neon Judgement—an essential vehicle for Dirk Da Davo, an artist who helped lay the foundations of EBM and post-punk. As co-founder of The Neon Judgement, he forged a sonic language that continues to resonate across generations. With “Liberation”, he brings Neon Electronics to a close, marking the end of this era with clarity and intent.

Joined by longtime collaborators Glenn Keteleer (Radical G) and Pieter-Jan Theunis, this release captures the essence of his most vital years. It distills the spirit of the ’80s and early ’90s into a sequence of tracks that unfold like a collection of undeniable hits—direct, timeless, and uncompromising.

The record reaches its final form with remixes by Ancient Methods, a leading force in industrial techno, and Patrick Codenys of Front 242—one of the few acts whose legacy stands alongside Dirk’s own.

For the label, presenting this final work is both a privilege and a responsibility: a closing statement from one of the true architects of the sound itself, and the definitive work of Neon Electronics as a project.

Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After his first group KMD’s sophomore album Black Bastards was shelved by Elektra in 1994, and his blood brother Subroc — one half of the sibling rap duo — passed away, surviving frontman Zev Love X slowly mutated into the supervillain MC known as MF DOOM, and the rap world is better for it.

The 1999 release of Operation: Doomsday marked MF DOOM’s official debut, reintroducing a mysterious figure who would soon become one of underground rap’s greatest voices. Within its 19 tracks, Operation: Doomsday reveals the confluence of DOOM’s tragic past, personal interests and daring creativity. His clever rhymes and remarkable schemes stood out against the landscape, and every sound he touched — from cartoon theme songs, to ‘80s soul, to rap classics and more — got reinterpreted into something brand new and surreal.

Decades later, MF DOOM is still celebrated for all facets of his work and influence. In the face of tragedy, DOOM re-infiltrated the rap game on his own terms, and crafted an instant cult classic. Operation: Doomsday stands as a testament to the power of betting on yourself against all odds.

DJ Support: Louie Vega, Kenny Dope, Dave Lee, Dj Spen, Terry Hunter, Jimpster, Kevin Yost, Brian Tappert and more.

For the true listeners who still value the art of the record.

This project pays homage to the funk-disco aesthetic that defined the 70s and 80s crime-thriller genre. Paolo Fedreghini’s personal, cinematic journey through the American cityscape: an atmospheric landscape of high-speed chases, corrupt lawmen, and V8-powered escapes. The narrative weaves through gritty criminal underworlds and shady dealings, always balanced by the allure of the disco era. Rather than a mere imitation, the album distills the essential Blaxploitation sound for a modern audience, blending jazz-funk and disco with subtle, sophisticated electronic layers.

Produced by Masters At Work (Kenny Dope and Louie Vega).

'Collaboration is stimulating, it's in my blood.' Thus speaks Brian Jackson and his philosophy for making music and it's indeed collaboration that runs through this amazing album of reimagined and revisited songs from his artistic past. Featuring artists such as Black Thought, Rahsaan Patterson, Josh Milan, Moodymann, Omar, J. Ivy and others and being produced by Masters At Work, Now More Than Ever takes the enduring classic tracks that Brian made with Gil Scott-Heron and places them in the now over nineteen tracks and across a triple vinyl LP or double CD.

Songs such as Lady Day & John Coltrane, The Revolution Will Not Be Televised, Home Is Where The Hatred Is, Winter In America, The Bottle and more soundtracked a generational movement of Black Consciousness in the 70s and 80s. As Brian says, 'This album is one way to connect to what we were about in the 70s; we were about change and this is part of the lineage of resistance. These tracks mark a period of time when resistance was essential and now a younger generation has picked them up.'

'As young men in their twenties we (Brian and Gil) just wrote about what we saw and were feeling and people interpreted these songs in ways we never thought about but as Sly stone said the song comes from me but it's for you.' This statement from Brian perfectly sums up the collaborative nature of Now More Than Ever and the relevance of these songs in a contemporary perspective can be perfectly summed up by the songs themselves. The formidable stable of artists contributing to each track and the excellent production from Louie Vega and Kenny 'Dope' Gonzalez make this album an event in itself. However, these songs are there to be enjoyed as a canon or as individual masterpieces, whether on the dancefloor or on a home system. ‘Now More Than Ever’ just has to be in everybody’s music collection.

Sie machen keine großen Worte, hampeln nicht 24/7 auf allen Social-Media-Kanälen herum, verzichten auf Werbung und große Worte jeglicher Art und spielen nicht wahllos an jeder Steckdose. Eigentlich ein Unding in der heutigen Zeit. Geschäftsschädigung in eigener Sache, quasi. Und dennoch ist die im Jahr 2009 gegründete Formation aus Tübingen mit jedem ihrer immer stoisch und schlicht mit dem Bandnamen betitelten Alben stets aufs Neue in vieler Munde, genießt mindestens Respekt, bei etlichen Fans gar unantastbaren Kultstatus - und das nicht nur innerhalb der Punk(Rock)-Basis, sondern auch bis tief in die Alterna- und Metalszene hinein. Große Riffs - mal episch, mal punkruppig, mal schmissig, und so gut wie immer nackenbrechend - und der zuweilen zweistimmige Gesang sind die Kerntrademarks des Vierers, dazu spartanische, aufs Bitternötigste reduzierte englische Lyrics sowie ein magnetisierender Groove, für den unzählige andere Musiker töten würden: HYSTERESE at it's very best. Auch mit Album Nummer fünf pflügen HYSTERESE durch eure Herzen. Wie nicht anders zu erwarten, walzt das Quartett seinen schwermütigen Punk-Rock in die nächste Metamorphose. Die riesigen Melodien sind getragen von krachigen Breitwand-Gitarren, mal Shoegaze, mal 80s Rockismus, zeitlos und integer. Und hat da jemand tatsächlich Manilla Road gesagt?

This tidy joint release between Future Rootz and Luchando Music compiles rare recordings from 1970s and 80s Cuba, all sourced from private archives and reel-to-reel tapes. This is the sort of selection to get serious diggers hot under the collar as it explores funk-driven arrangements, jazz-informed horn sections and rhythm-led compositions contoured with Afro-Cuban percussion. There is plenty of tape saturation and analogue noise present throughout that reinforces the archival origins of the music and instrumentation centres on brass, keys and layered percussion, with grooves built from syncopated patterns and live ensembles. Alongside the music, restored credits and contextual research foreground the musicians and recording histories behind these previously unavailable works. Do not sleep on this one.

DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of BAPTHOMET’S BLOOD’s debut album, Satanic Metal Attack, on vinyl LP and - for the first time - CD formats. This marks the beginning of reissues of all of the band’s four albums. Originally released in 2006, the Italian act went all in with their pure and authentic love for the old metal scene of the 80s. The aim was never to reinvent the wheel and bring new influences into classic speed metal. These maniacs represented a new generation which wanted to continue and blast out heavy metal in the old way, with the same spirit.

DYING VICTIMS PRODUCTIONS is proud to present the striking debut EP of Spain’s FABLE, Long Hath the Night Dwelt, on CD and 12” vinyl formats. FABLE started as a solo-project by Jose Soler (Phantom Spell, Chantrice) influenced by ‘70s and ‘80s hard rock and heavy metal – a list as varied and idiosyncratic as Thin Lizzy, Whitesnake, Pagan Altar, Ashbury, and Hällas – along with hints of old US metal. Duly girded, the band bring forth their public debut, Long Hath the Night Dwelt. An actually-narrated prelude sets the stage for a cautionary tale about class struggle and revolution, FABLE indeed using fables and stories as a medium to tell an expansive story of the woodsfolk dominated under the iron claw of “The Owl.” Despite that, the band’s debut EP is exceptionally compact at five tracks in 22 minutes, moving with a simmering patience that’s heavy on mood and dynamic in its restraint. Never overdriven nor busy, warm and intimate but with a psychic distance that seems impossibly ancient, FABLE very much evoke the perhaps-centuries-old folklore that seems so central to their rustic rock; the wise-sage vocals almost seem an afterthought when the narrative flow of the music starts winding and wending like smoke from a tavern fireplace, so illustrative is its hushed power. However, each element here is equally important, and all work together to form a totality that’s unfussy but hewn with class and care. And this is just the start of this FABLE: discover for yourself how Long Hath the Night Dwelt!