Acid bass, slow funk and cosmic energy make for a mind expanding trip in the Liquid Canoe.
Load up on edibles, make it a macro-dose and let the music lead the way.
Whether you’re hard at work on a Hamburg allotment, basking in the heat of a Balinese beach or enjoying the cool waters of the Salish Sea, remember that the same sky stretches over all of us.
And if you forget your finger for a minute and soak in the heavenly beauty instead, you might just catch the cosmic vibrations of Liquid Canoe, the latest members of the Growing Bin family.
A loose ensemble, Liquid Canoe is the brainchild of Wolfgang Matthes, a lost Angelino who’s swapped the rush and push of a mega city for the space of the Pacific Northwest - and listening to this eight track offering, you’ll realise that space is the place. Armed with an array of vintage synths and programmed rhythms, Wolfgang sketched out a slew of inter dimensional transmissions, inspired by the commune electronics and space rock of 70s Germany and inhabited by the spirit of the boogie. Inviting friends to drop by and lend their own instrumental skill, Wolfgang quickly turned Liquid Canoe into a true collaboration. Finalised in a converted stable on Galiano Island, the LP is a perfect marriage of the electronic and organic, shimmering arps and spheric synth bass intertwined with American primitive guitar, nuanced hand percussion and glassy chimes. As this mind expanding collection stretches out towards infinity, you’ll hear Floyd-ian funk, cosmic dub, tangerine daydreams and micro-dosed ambience, all imbued with the memories of New York lofts, Bay Area warehouses, skyscraping pines or the world wide web of fungi. Liquid Canoe taking you on an oarsome trip.
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Clear vinyl LP edition of 500 copies. Vacant Gardens is Glenn Donaldson (of The Reds, Pinks and Purples and a hundred others) and Jem Fanvu, collaborating on music and with the latter responsible for vocals and lyrics. The project began with the idea of combining heavy fuzz and slow-mo drum machine beats with Fanvu's gentle almost trad-folk style vocals. Almost all of Donaldson's otherworldly sounds are achieved through layers of guitar fuzz and copious delay, while Fanvu offers an ideal counterpoint, taking the listener on a celestial melancholy trip with her opaque poetry and melodies. So inspired were the duo by this blend of styles, they immediately recorded at least two albums of material, Under the Bloom and Obscene, released in quick succession in 2020 and 2021 in swiftly-disappearing micro editions on the secretive Tall Texan label. With those records close-to-impossible to find at an affordable price, Tough Love are now reissuing both LPs. From Reds Pinks and Purples' Glenn Donaldson, Vacant Gardens is an interstellar recording project that combines celestial, shimmering guitar on the verge of breaking like a massive, emotive wave and an ethereal vocal style from Jem Fanvu (visual artist, Minor Ghost Band also, plus collaborating with Tune-Yards, Cavity Fangs and many more) recalling Hope Sandoval or Liz Fraser that sails in its wake. Simply put, this is some of biggest, heart-tugging guitar music you'll hear in recent times. Sold out at once debut Under The Bloom, is followed now a continuation and development of the group's sound on Obscene: a frayed tapestry of Slowdiving, Flying Saucer Attack guitar noise wall married with an angelic vocal from Fanvu that glitters in counterpoint to the stringed distortion like Hope Sandoval or, in the way it shines bright in the fog, like Jonsi's surfing the surging waves of emotion in early Sigur Ros. Originally released in February on digital formats, Obscene gets a vinyl press and is sounding massive. Vacant Gardens' music suggests oceanic feelings, a hazy intergalactic consicousness that burbles beneath the surface of everything while also touching the visceral points in the human heart that makes groups like Galaxie 500, Yo La Tengo so timeless.
The Spy from Cairo (aka Moreno "Zeb" Visini) returns with his 5th studio album on Wonderwheel Recordings: "Animamundi" features some special collaborations from his travels & live shows from over the past few years. The album reflects the move from his home in NYC to his mother's home in a quiet village in Italy to take care of her in her older age. It's been a difficult transition with Italy's challenging experience with the pandemic, including some of the strictest measures enforced on the public. He recalls by stating "This album was conceived between 2020 and 2021 in Italy, between lockdowns, restrictions, and various pandemic mandates. Its message is of hope and positivity - a reminder that we are all spiritual beings… Free spiritual beings… and that freedom can't be broken."
"Animamundi" is a reconfirmation that The Spy from Cairo overcomes all obstacles & delivers a diverse progression of his iconic "Arabadub" sound, with the help of collaborators like Andalucian vocalist Carmen Estevez, Mexican vocalist Mambe Rodriguez on the heavy hitting "Criminal," Egyptian vocalist Adii Small on "Beautiful Baraka," and former touring band member, the multi-instrumentalist and vocalist Fatima Gozlan from Hungary. The music can vary from heavy deep electronic synths and live eastern instrumentation with Zeb playing oud, saz, chiftelli, bass, percussion, and other instruments, all along giving it his signature dub mixing style.
The songs take inspiration from a wide range of musical traditions and cultures, including Turkish (on "Cosmic Pasha," "Qanun in Dub" – using the qanun, an instrument popular across the Middle East, with a sound between the European harp and a dulcimer – and "Black Sea," which utilises a typical Dabke melody), Egyptian ("Mizmirized," sampling riffs from a mizmar), Indian ("Seeds of Culture), and Sufi ("Divination," a devotional composition), fusing these reference points with healthy doses of cumbia, funk, reggae, psychedelic, and dub. Thematically, "Animamundi" deals with some of the struggles Zeb – and all of us – have faced the last two years, through the lens of his personal experiences. Yet, the tone of the record manages to remain positive, like an uplifting dance through the world's sounds; after all, "Animamundi" means "soul of the world" in Greek. With album art by Sam Angeli and layout design by Marcial Arts, this beautiful album is a truly well-rounded worldwide collaboration.
"Animamundi" will be released digitally on March 4th, 2022, with the LP to follow shortly after.
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In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city’s thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years.
In Trux We Pux 04 is the last in a series of four records organized by Favela Discos, set out to shine a light on Porto’s thriving experimental and improvised music scene. Throughout the collection the label tries to expose the eclectic sound and collaborative practices that have been in development in the last few years in the city by promoting the collaboration between artists and the creation of new collective improvisation pieces.
As the first album dwelled into the electronic spectre of the scene, this volume veers itself to the physical side of experimental and improvised explorations. Although there is space for outsiders manipulating the sound by electronic means, most of the music in this album is plucked, bowed, percussed or sung. The artists themselves are as varied as the music they played, among the 13 artists that collaborated for the creation of this album are many promising newcomers but also some of the more recognizable and relevant names in the scene, with the presence of the Sonoscopia founder Gustavo Costa, João Pais Filipe one of the most characteristic drummers in Portugal, and the DIY duo and underground staple Calhau!.
As we could suspect, the diverse selection of musicians, while providing us a view on the various kinds of musical languages that populate the city’s scene, also creates a dynamic collection of sounds. Spanning a large gamut of sub-sub-genres, from near-musique concrète to tribal noise, the album is a rollercoaster collage that miraculously achieves logic and cohesion, like a voyeur listener taking us on a journey through an abandoned mall where most of the bands in Porto rehearse, whose halls reverberate with a cacophony of music.
Adrian Quesada announces the release of ‘Boleros Psicodélicos’,
a sprawling and singular tribute to the golden era of balada music.
The brand-new album from the GRAMMY-nominated guitarist,
producer and Black Pumas co-founder serves as a celebration of
the super funky, slightly delirious and deeply soulful sounds that
transcended the cultural boundaries of Latin America throughout
the late 1960s and early 1970s.
Featuring vocals from Puerto Rican icon, GRAMMY-winner and
former Calle 13 member iLe, Colombian-American visionary
Gabriel Garzón-Montano, Mexican R&B star Girl Ultra, as well as
Angelica Garcia, Gaby Moreno, contributions from living legends
such as Marc Ribot and Beastie Boys musician Money Mark, and
many more, ‘Boleros Psicodélicos’ consists primarily of original
Adrian Quesada compositions, as well as covers of La Lupe’s
‘Puedes Decir De Mí’, Jeanette’s ‘El Muchacho De Los Ojos
Tristes’ and other balada classics.
All twelve tracks were produced, engineered, mixed and largely
performed by Adrian Quesada, honouring and extending the
influence of a personal obsession that he has cultivated over the
past 20 years.
Similar to his acclaimed 2018 album ‘Look At My Soul’, which
traced the deep roots and relationship between Latin and Texas
music, Adrian Quesada sees every song on ‘Boleros Psicodelicos’
as both a history lesson and a step towards a newly imagined,
more united future: “I always wanted to pay tribute to that sound
that I was already hearing in my head without realizing that people
had already done it. Balada changed the face of Latin music
forever. If something like that happened today, it would be normal
because everyone’s connected on Instagram. Think how powerful
this sound had to be for everyone to be connected through the
songs. As someone who grew up speaking two languages and
living on both sides of the border, I love how much music can
transcend barriers and boundaries. It really is a universal
language, especially back then.”
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"In Waves is a new sister label of Lee Burridge's All Day I Dream. Its third release comes from Zone+ and is a superb 13 track collection that sinks you deep into the artist's rich house sounds.
A Balloon In The Wind (Ambient) opens top with dreamy pads and spring day sounds, then supple grooves arrive like Hello to take you away into a hypnotic world. Shinobi has bumpier drums and elastic bass, Bohemian brings worldly percussive sounds and Mandalorian layers up smooth drums with soft pads and angelic vocals.
This most heady and cuddly of albums plays out through the clipped house and subtly funky kicks of What's Going On, the bubbly sounds and Middle Eastern vocals of The Musician and widescreen melancholic chords of Luna. Electric Dreams is a fine collab with Usif and the album closes on the tightly woven late night deep house of Uncommon.
This is a masterful album of smartly layered grooves, emotional pads and escapist vibes."
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Giacomo “Mino” di Martino started his musical career in several early 1960s Italian beat bands. By 1968 he had found enormous success with pop superstars I Giganti. After a brief split in 1970 –during which Mino formed Il Supergruppo with Ricky Gianco and other greats of the Italian scene– he came back to I Giganti in 1971. With them and with new advanced ideas that set the band pretty far away from the sophisticated pop and beat sounds they had been so successful with, they would record the amazing Terra in Bocca conceptual LP, an adventurous experimental album that explored the obscure connections between the Italian state and the mafia. A delicate topic full of political criticism which also found them having to fight censorship –it was played only once in the radio. This fact, along with the advanced new sound probably being too far ahead from the mainstream audience’s taste, turned the record into a commercial flop. Nowadays Terra in Bocca is a highly regarded album among critics, afficionados and collectors, and a pretty seminal one for the Italian scene of the seventies, since it can even be seen as a precursor to the works on the Cramps label. Gianni Sassi, producer and photographer who founded Cramps was involved in the release of Terra in Bocca –his is the amazing cover concept.
After the Terra in Bocca experience, Mino’s will was to keep exploring new musical paths and free his mind to experimentation. Along with his wife, actress and singer Edda “Terra” di Benedetto, they formed the Albergo Intergalattico Spaziale, just after the brief post-Giganti project Telaio Magnetico (with Franco Batiatto, among others) was over. The Albergo was a venue where artists from diverse disciplines, mainly musica and theatre, could meet and create works together.
On the musical side of the community, Mino and Terra explored the cosmic sonorities that were coming from Germany and mixed them with the Italian experimental scene of names like Franco Battiato, Luciano Berio or Roberto Cacciapaglia. It is from the sessions that took place in the Albergo from 1974 onwards that the Albergo Intergalattico Spaziale LP came out. Originally released in 1978 the compositions had been made during those years of exploration, the goal not being the release of an album but the aim to explore new sounds and experiment with music. Eventually it was decided to present a sample of all that work, and a few copies of the Albergo Intergalattico Spaziale LP were privately pressed.
The record sleeve and notes on the insert reivindicate the fight against nuclear power. The music is dominated by Mino’s keyboards, creating amazing space sounds reminiscent of those from 1950s and 1960s science fiction B movies brought to the most avantgardist experimentation of the moment, exploring new sounds with the newest keyboards available. This intriguing background sets the athmosphere for Terra’s voice to improvise all over.
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Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.
Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna.
The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explians Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable.
“Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.”
A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world.
Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album.
The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios.
Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction.
New York-based duo Bottler, Pat Butler and Phil Shore, are the vanguard of their own distinctly eclectic sound. Raw, emotive, bold and highly creative, the duo has successfully carved out their own path with a series of EPs that represent the broad scope of their production prowess. Over the last five years Bottler have been working on their debut album, ‘Journey Work’, a milestone achievement that marks a pivotal moment in their music career. The LP is a distillation of the duo’s multifaceted upbringing, blending a variety of styles together bound together by an overarching attitude and approach that embraces creative freedom and self-acceptance.
Pat and Phil are childhood friends whose bond is akin to that of blood relatives. Their parents are best friends and they grew up side by side, developing their deep love for music together; sharing discoveries and inspirations, learning to play and perform, and nurturing their creativity together. Now formally ordained as Bottler, they channel their eclectic tastes into a sound that encapsulates the love and trust that forms the foundation of the friendship. The duo blends a myriad of styles to create songs that emanate warmth, joy, sorrow, pain and the full spectrum of human emotion.
The album title, like their music, is open to interpretation. The duo reveals themes related to chronicling life’s many ups and downs, the deep preparation that must be taken ahead of a spiritual ceremony or psychedelic experience, and, simply, the journey taken during the conception and creation of an album. A quote from Walt Whitman also partly inspired the title; “every leaf of grass is no less than the journey work of the stars”. However, the intention behind the title is to allow for ambiguity, giving the listener an opportunity to write their own narrative.
Across 11 cuts Bottler illustrate their distinct take on electronic music, weaving in elements of indie, pop, rock, house and techno with confidence and panache. ‘Journey Work’ starts at ‘Home’, a song that is fizzing with positive energy, Pat’s vocals welcoming the listener to the start of this meandering audio adventure.
‘Chrysalis’ opens with delicate piano keys that guide us into a bombastic bassline and energising drum beats. As it progresses, scintillating layers of synth and strings are added, creating a highly affecting, uplifting atmosphere.
‘Melatonin’ follows up next, merging heartfelt vocal delivery with a sombre instrumental, and a stirring guitar riff. A glorious demonstration of Bottler’s songwriting capabilities, which are also evident on ‘Vinyl’, an uptempo dance number with an unbelievably catchy chorus. Here we see the duo channel their experience of playing in multi-member bands, as the breaks and arrangement feel perfectly suited to a festival-sized crowd.
On ‘Tacoma’, Pat and Phil channel their appreciation of house and techno into a haunting cut that utilises reverse strings and extended vocal refrains to chilling effect. A heady club track for the twilight hours. ‘Meds’ incorporates muted singing, mystical pad work and a mesmerising riff to produce a captivating slice of uncomplicated dance music.
This is followed by ‘Hot Water’, which feels like a trip to a Californian beach, circa 1965. The vocals drift over a bouncing bassline with a complementary guitar riff. ‘Mako’ features Samurai Velvet singing about fireflies and afterlife in a wonderfully heartrending manner, Bottler’s instrumental keeping things simple, yet highly effective.
We head back underground with ‘Weed’, a dense, gloomy cut with inspired use of chopped up vocal clips, stuttered throughout, alongside a mean bassline. ‘You’re Old’ is the soundtrack to an explosion of festival euphoria, dancing shoulder to shoulder with your best friends, forgetting all your troubles and living in the moment. An anthemic song that transposes Bottler’s idiosyncratic style onto the pop blueprint. Finally, ‘Cicada Rhythm’ closes the LP with a pensive, yet joyful feeling. A chunky bassline is juxtaposed with Pat’s angelic vocals cascading over the top. A hint of tribalism comes through, as we approach the end of the Journey Work…
Five years in the making, fuelled by the desire to express their deep love for music of all varieties, Journey Work is symbolic of the long road it takes to accept oneself and be comfortable expressing one’s truth. Diverse, dynamic and daring with a rawness and honesty that is rare to find, the album marks a triumphant debut for Bottler and one that crystalises their unique identity.
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Presented here both in its Stereo and Mono versions, this album was Duke Ellington and John Coltrane's only ever recorded encounter. For the occasion, Trane and Duke were accompanied by the bassist and drummer of their respective groups (who alternated from track to track), Aaron Bell and Sam Woodyard (from Duke's rhythm section), and Jimmy Garrison and Elvin Jones (from Trane's rhythm section).
"For this classic encounter, Duke Ellington 'sat in' with the John Coltrane Quartet for a set dominated by Ellington's songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius." - Scott Yanow,
AllMusic
i 9. Big Nick [john Coltrane Quartet Version]
[n] 14. I Got It Bad And That Ain’t Good [john Coltrane Quartet Version] *
[r] 18. The Feeling Of Jazz [duke Ellington Orchestra Version]
[i] 9. Big Nick [john Coltrane Quartet Version]
[n] 14. I Got It Bad And That Ain’t Good [john Coltrane Quartet Version] *
[r] 18. The Feeling Of Jazz [duke Ellington Orchestra Version]
Constructed in the initial chaos of the pandemic, Baby Blue’s dystopian debut LP “End Of Sleep” finds solace in the unearthly home of Planet Euphorique. 7 offerings from the Canadian artiste dive deep into a heightened reflective state; an amalgamation of memories stitched together via looped dissonance and destruction. A contrast of lightness and dark constantly working against each other and at times in harmony; a familiar connection that can be found in complex electronic music and mental states alike. Strap in and be guided through a wormhole of cyber analog journeys, thematic explorations and catastrophic calls to celestial beings.
Ethereal echoes of LSG break in the opening of the record, fleeting cries nodding to ancestry; yet A Rainy Trip To Netherworld Sequence embraces the storm. Knee jerk kick distortions disrupt the angelic hypnosis; reality rolling through the clouds. The sequential energy continues through A2 and A3, driving and rolling viciously with heavy contorted noise infiltrating the low end whilst flickers of melodious song sail unbothered, thriving amongst the destruction. The Spring Is Coming feels like a seasonal change, a melting and defrosting; thawed harmony shining through; textural and flowing with movement, a perfect bridge.
An arguably more delicate chaos emerges on the B side, elongated pads stream endlessly whilst drums cultivate and expand into sudden frisson. Fragile voices begin to gate and sweep in Equal Parts Damaged, lingering and ringing through ear drums whilst glued in rhythmic unison to induce a state of floating, a game of elevated push and pull. Syncopated howls of distortion leads the closing track, Violet summarizing the brilliantly confronting conversations pulsating through the record.
PE016 urges you to join the otherworldly personal journey and sufferings of Baby Blue, a moment to connect with her meditative dreams and struggles; sonic synergy expanding to anyone with the invitation to surrender.
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Repress!
R.A. The Rugged Man is one of the most fascinating figures in hip-hop history. His career spans decades, and defies simple narratives. The Rugged Man has been an up-and-coming star, an industry outcast banished and forgotten, an underground cult hero, an independent success story, and an influential master of the art form.
Now, R.A. The Rugged Man is back with ""All My Heroes Are Dead"", a brand new album that stands as his best work to date. “So many of the greats are gone, and the legends who made it out alive are cast aside,” R.A. explains. “Society left our heroes and their culture for dead. We have to dig that greatness out of its grave, and bring it back with an angry vengeance.” "All My Heroes Are Dead" features an all-star lineup of hip-hop heavyweights, including Atmosphere, Chuck D, Ghostface Killah, Immortal Technique, Vinnie Paz, Ice T, M.O.P., Kool G Rap, Brand Nubian, DJ Jazzy Jeff, Chris Rivers, Onyx, Inspectah Deck, A-F-R-O, Masta Killa, and more.
Following their critically acclaimed 2016 debut album, ‘Borderlands’, (nominated for ‘Best Album’ in DJ Mag’s annual awards), Conduct’s highly-anticipated second major work drops in 2017 via Blu Mar Ten Music.
‘Oma' is an immense LP, taking its sonic cues from 'Borderlands' while expanding them into far wilder territories. Organic clashes with electronic in a whirlpool of tribal head banging, fragile introspection and beautiful sonic architecture. Skittering rhythms, rock solid basses, angelic vocals and heartbreaking instrumentation are guaranteed to make 'Oma' one of the most notable drum & bass albums of 2017 and Conduct one of its prominent acts.
Striving to show the world what can be achieved at 170 beats per minute, Conduct’s palette is a dramatic juxtaposition between electronic and acoustic instrumentation, with a cinematic approach to composition influenced by the likes of Hans Zimmer and Jesper Kyd. While it’s common for drum & bass producers to concentrate on dance-floor impact, Conduct‘s primary focus is the evocation of an emotional response in the listener, creating a body of work that lasts far beyond the club.
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This essential 1962 album showcases the modern jazz saxophone innovator performing alongside the colossus of jazz piano and composition. Only Coltrane could be this 'fiercely tender,' and there's no better forum for his sensitive side than the music of Ellington and Billy Strayhorn, who contributes the album's true gem, 'My Little Brown Book.' Ellington is wise enough to appreciate the nature of the session and is quite content to feed chords in service of the young master--proving the old master's open mind and good taste— most obviously on their now-classic 'In a Sentimental Mood'.
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Limited to 100 CASSETTES Fairground of Tears’ ‘Execution’ is a 10 track EP of heavy, noisy techno, containing 5 original tracks and 5 remixes from Melania., Phin, Pre Silent, Antechamber and Tomohiko Sagae. Conceptually, the release explores the multi-perspectival facets of the serial killer phenomenon, both the victim and the killer, but also the role of the voyeur, which in this instance, the listener becomes. Fairground Of Tears is a London based producer, resident DJ at Noise Orchestra and the founder and curator of the London event series, Exiled. credits Mastered by Joe Farr Artwork by Hila Angelica Mazzocco
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"It’s a voice that soars –pure, clear and true —above bass and synths, traditional percussion and infectious Mande guitar grooves. A stop-you-in-your-tracks voice instantly familiar to anyone in Mali, West Africa: Rokia Koné, aka the Rose of Bamako. On her debut international release, she’s teamed with Irish-born, California-based rock producer Jacknife Lee —and reimagined the Malian sound in ways leftfield and ground breaking.
BAMANAN is a collaboration that connects the great ancient kingdoms of Mali and the bustling modern street life of its capital, Bamako to a remote recording studio nestled within California’s Topanga Canyon. That bridges deep tradition and forward-facing innovation. One of Mali’s most beloved and dynamic artists, Rokia Koné is a force to be reckoned with. Her captivating performances in the city’s local maquis clubs very often last for hours, as Koné runs the gamut of emotion from joy to despair, fury to tenderness, wielding that astounding voice with grace and power. In 2016, she joined feminist supergroup Les Amazones d’Afrique and made her debut on an international stage alongside the likes of Oumou Sangaré, Angélique Kidjo and Kandia Kouyaté. Jacknife Lee is the acclaimed producer of bands including U2, R.E.M and The Killers, and has a Grammy for his work on Taylor Swift’s multi-million selling Red. Stadium-sized soundscapes are his speciality. Yet BAMANAN finds Lee upholding the stark beauty of Rokia’s voice with subtlety and sensitivity. Every nuance and breath is heard, each inflection and melismatic improvisation carefully preserved on this exciting debut."
Mondo, and Jagjaguwar are proud to present a limited edition vinyl pressing of Sharon Van Etten's incredible song 'Let Go,' recorded for the 2020 documentary Feels Good Man, chronicling the emotional journey of comic artist Matt Furie and the discovery that his lovable creation Pepe The Frog had become symbol of the alt-right. A super powerful film about reclamation, artistic expression, and above all else Letting Go.
Featuring the aforementioned original song 'Let Go,' as well as a cover of 'Some Things Last A Long Time' by Texas legend Daniel Johnston as B-Side.
“After watching the documentary, I just followed the feeling of coming to terms with something and tried to evoke peace through my melody and words," says Sharon. "The song and film’s producer, Giorgio Angelini was a great collaborator and communicator and I was given a lot of freedom. That says a lot about the film and the people who made it."
Tara Nome Doyle is a 24-year old singer-songwriter with Norwegian-Irish roots. In April 2018 her first release, the song Down with You came out. Since then it has been streamed more than four million times. More singles and an EP called Dandelion followed. In January 2020 her debut album Alchemy was celebrated by the German press (“… like Kate Bush singing songs by Nick Cave at Berghain”, SPIEGEL). TND’s second album, Værmin, will be released in January 2022 on Modern Recordings. The album was produced by Simon Goff, a Grammy-award winning producer (for his work for Hildur Guðnadóttir’s Chernobyl score), violinist and engineer.
TND likes to collaborate: In spring 2021 she co-wrote an original song with Isobel Waller-Bridge (Fleabag) for the upcoming Netflix feature film Munich - The Edge Of War. In July 2021 the EP The Moments We Keep, which she co-wrote and co-produced with the Italian pianist Federico Albanese, came out on Mercury KX. In late 2020 TND released recordings with Malakoff Kowalski (Bad Dreams) and 1k Flowers (Clemency). TND has also collaborated twice with Max Rieger (Die Nerven; producer of e.g. Caspar and Drangsal).
On Væermin TND tells a tragic love story, rich in symbolism and nuances, orchestrated with piano, violin and synthesizer and sometimes pulsating beats – and with singing that is both intense and varied, sometimes angelic, sometimes rough and threatening. Væermin is touchingly beautiful – and yet it also celebrates the supposed ugliness that lives in all of us and that we like to suppress and ignore. All songs are named after animals that are considered undesirable pests: leeches, caterpillars, snails and worms. Væermin celebrates their beauty and thus also asks a political question: What would happen if we welcomed these vermin instead of rejecting them? Wouldn't we then arrive at a much richer, balanced relationship with ourselves, to a more differentiated relationship to the world around us and to other people?
Værmin is a grand, wise, deeply moving album. And the songs get stuck in your head immediately, pulling you into their depths: existential music by an extraordinary artist.
In Skymn's first addition to our sacred doctrine we get to experience the hypnotic trance evoked in voodoo rituals by ancient African cults. With mud up to their knees, bonfires brazing and bone suits rattling in harmony with the beat, the congregation creates a vibe that is almost corrosive. Cannibalistic fetishism, unholy vibrations and maddening techniques of ecstasy that joins the living with the dead.
Supported by Amandra, Antonio de Angelis, Antonio Ruscito, Antonio Vazquez, Arnaud le Texier, Astronomical Telegram, Attemporal, Ben Buitendijk, BLNDR, Brendon Moeller aka Echologist, Cassegrain, Claudio PRC, Deepbass, Edit Select, Eric Cloutier, Exium, Francois X, Hector Oaks, Hironori Takahashi, I/Y, Iori, Jonas Kopp, Juho Kahilainen, Kwartz, Luigi Tozzi, Mattias Fridell, Mod21, Modvs, MTD, Ness, Nihad Tule, Nima Khak, Nobody Home, Oscar Mulero, Rasmus Hedlund, Reggy van Oers, Retina.IT, Ryuji Takeuchi, Samuli Kemppi, Shaded Explorer, Stefan Vincent, Stephanie Sykes, Svreca, Takaaki Itoh, The Noisemaker, Unam Zetineb, Victor Martinez aka. Error Etica, Vilix, Xhin and quite a few more.
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Supported by Claudio PRC, Svreca, Oscar Mulero, Antonio de Angelis, Arnaud le Texier, Ben Buitendijk, Giorgio Gigli, Exium, Iori, Kwartz, Rasmus Hedlund, Reggy van Oers, Samuli Kemppi, Stefan Vincent, Stephanie Sykes, Takaaki Itoh, Vilix, Eric Cloutier, Brando Lupi, Felix Lorusso, Sam KDC, Conrad van Orton, Periskop.
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A worldwide icon, 4-time Grammy Award winner, BBC’s TOP 100 Most Inspiring & Influential Women. Known for her humanitarian efforts in the areas of Education, Women’s Rights and Environmental Awareness. Angélique returns with a new image & new sound on May 28th. Produced by the Nigerian rising star producer Kel-P (Burna Boy, Wizkid, Future). Featuring Burna Boy, Yemi Alade, Wizkid, Mr Eazi + more.
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Following the release of Twisted Heads comes Slacker’s most complete work to date. The artist's debut LP - What Would I Do With Saturn - arrives on Lobster Theremin on Friday 2nd July and demonstrates Slacker’s killer ear for capturing the cross-sections that exist within UK sound; floating between the artist's drum & bass upbringing and introspective, world-building electronica.
“The main idea was to think 'what would an outside observer to our planet think when looking down at this moment in time, what does the moon think when looking down on us?'” he says. “It was a way of me both building another world whilst also expressing the strife of the world that we were living in. I was lucky enough to be quite secluded in the first lockdown around a lot of nature, but then feeling the isolation ten-fold as I was so far away from civilisation. I think that the album has this schism represented in it with the more classically "nice" tracks standing next to the more aggressive and expressive tracks; it is both an escape and capturing of the world we live in.”
Designed to have inward-gazing and aggressive tracks side by side - to represent the day to day mood swings that only extensive isolation can bring - the record is a tripped-out voyage through rich, flora-drenched ecosystems and Halo ring worlds. A cathartic release to heavy isolation, the album opens with ‘deep in the forest, a sacred pool’ - angelic tones and tranquil chords symbolising a melting in the ocean, the contemplative silence that comes when one puts their head beneath water, shutting out the outside world.
‘As I Fear The Ground Opening’ represents the anxious rush when the bubbles start to rush and your time of total freedom reaches its inevitable end; it’s frantic drum patterns scoring an intense scene, trancey atmospherics enticing you to keep turning the corner. ‘Unturned’ continues down the cinematic route, before the B-side introduces Slacker’s breaks heritage: ‘One Hundred Ideas’ sounding reminiscent of the fire wave of experimental, stripped-back percussion currently championed by the likes of Al Wooton and his TRULE label; green fields, optimism and wicked breaks.
‘My Own Moon’ channels open-the-clubs energy with a percussive melter, before completing the B-side with a call to arms on ‘The New Face of England’; it’s trap-techno energy encapsulating the anger and frustration felt in the face of rising English nationalism.
Staying true to the testament of his most complete work to date, Slacker relentlessly switches up his sonic palette in pursuit of differing - yet uniquely connected - experiences, entering future-electro territory on the C-side; ‘Nothing Is Enough’ giving off Tron Legacy largeness - temporarily paused by the emo-ambience of ‘the myth of visibility’ - before ‘Void Hopping’ crashes back down to earth with that rough-edged, raw aesthetic that has become so synonymous with the Slacker name.
The climatic D-side provides the most mixed bag yet; ‘Prisoner Of War’ opening an unmarked door as we venture further into the UK’s underground; the smells and sights of a packed-out jungle rave being expressed through ripples, blares and vaporous breaks, while the nostalgia inspired ‘Summer Of ‘18’ - featuring Guy Liner - offers a synthy, nu-disco vibe that manages to incorporate the emotional aesthetic that has been built throughout the album.
‘let these waves wash upon’ you draw the curtains as we take a deep breath to venture back into a scary world that lies beyond the door. A world of dreams, fears, love and sadness. Optimism, hopelessness, anxiety and inspiration. The world is opening up, and Slacker’s rise is imminent.
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In the beginning, there was chaos_ A while later in the Heavens, where angels reigned, there was once held a great symposium, a glorious feast. Everyone was happy and having a great time, until Lucifer, fairest and mightiest of all the angels, brought in suspicious and strange substances, offering them freely with both hands for everyone to take. All were fooled by the Ancient Serpent, starting to misbehave and act in contradiction to the Heavenly Laws. The Almighty God, enraged upon learning about the mutiny, threw everyone down on earth to suffer eternally in hunger, ugliness and desperation. Vulnerable now to each and every temptation, they are ready to perpetuate Good and Evil, while building their new earthly Kingdom in any way they can. Angelic chants, Demon's screams, witches dancing and woeful mortal suffering are recounted in this album's songs, embellished with mesmerising hymns and sharp riffs. Chaos is always close and all that remains is the human revolution against the forces of evil. "Battlefields of Satan's servants, witch-hunt for our ways, face off reality and eat TV today. Lucifer, Forever Grey". - Bill Politis - "The Unknown Secretary" comes to further unsettle the turbulent waves of music and burn its own mark in history. Today, five years after its original release, Heavy Psych Sounds reissues this retro gem, serving it once again straight into your record case.
We continue our special Dirtybird White Label Series with an artist that embodies what the eclectic new platform is all about, Nikki Nair - A brilliant producer and wildly musical mind.
The "More Is Different" EP is full of eclectic and unique productions. The lead track “It Goes”, seamlessly changes mood and direction from gnarly, contorted bass to angelic melodies. “Socket” boom-baps it’s way with square synths, frenetic beats and pensive keys, while the live drum kit, guitar and warped vocal on “Something” are unexpected, yet refreshing, elements to the anodic track.
The EP rounds out with “Want To You”, a fast-paced and frantic piece of work influenced by juke and ghetto house, perfectly encapsulating the sound of the series and Nikki’s immense talent.
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While the world continues to be in a bizarre mixture of feelings and circumstances, we can thankfully still hark back to last fall when the sophomore LP from the elusive and innovative KAMM band, Cookie Policies gave us an opportunity to reflect on the past while fully looking toward the future.
The album presented a beautifully unique blend of listening-oriented music styles, combining the early roots of the four producers and their pre-DJ formative musical travels. It is now our great pleasure to introduce an EP set of specifically dance floor-focussed remixes that take the diverse textural arrangements and expansive sonic bliss of the LP and stretch it around some solid percussive membranes, sure to excite many DJs and dancers out there in the wild as things begin to reopen.
KAMM band members Dave Aju, Alland Byallo, Kenneth Scott, each chose one original album track to rework with a more propulsive feel and from Aju's psychedelic West Coast breaks rendition of the noir-esque "CCBPGC", to Byallo's high vibe leveled-up flight of "Bird Call", or Scott's bold section-by-section recreation of the sprawling "The Soft Glow Of Electric Sex" laser-designed for heads-down late night club sessions, the boys came through to say the least. The real A1 treat of this reinterpretation package however comes from unanimous artist choice and label favorite I:Cube, whose majestic take on "Shleem" sees the veteran producer and master remixer move the bubbling ambient piece into bumping and rich space-age deep house territory, equal parts angelically uplifting and pure 5am club-belter/mind-melter.
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Keplar re-issues the fourth album 'Chessa' by Dan Abrams' project Shuttle358 on vinyl for the first time. The double LP edition includes 3 previously unreleased tracks from the same recording sessions back in 2004, as well as an extended artwork with unseen photographs by Dan Abrams.
While undoubtedly associated with the microsound and 'clicks & cuts' movement around the turn of the millennium, on 'Chessa' Shuttle358 left behind the classical rhythmic patterns of the genre and shifted further towards warmer territories, meandering between modern digital minimalism and the soft tones of ambient music. Counter to his microsound synthesis approach on Frame (2000), Abrams created Chessa by writing software that manipulated samples from his unreleased songs, guitar pieces, and vintage japanese films sampled from video tape. In particular, a special granulating technique was written and performed at intentionally low sample rates that gave the uniquely fragile, yet dense sound to the album. Over fourteen tracks Abrams arranges slowly evolving sonic entities of unfading elegance. Strayed and hazy melodies pulse and cascade, elongated but brittle harmonies shimmer and disappear, echoing far-off in the rounded corners of the mind. The patient and detailed way Abrams combines the broken with the beautiful in creating organic collages of sound that retain the euphonic essence of a song, makes this piece of work so powerful and timeless, sounding just as relevant today, as it did 17 years ago.
Under modern scrutiny in Abrams latest studio, he refocused the original recordings to emphasize the elements most important to the original vision. The final mastering and vinyl preparation was done in collaboration with Stephan Mathieu, vinyl was cut by LUPO.
From the original press release in 2004 by Taylor Deupree:
Without a doubt Shuttle358 has become one of the most admired artists to emerge from modern electronic music’s sea of musicians. From the humble beginnings of a demo CD in 12k’s mailbox to 4 critically acclaimed CDs, Dan Abrams is, to some, the one credited for bringing a warmth and human touch back into what has often been considered a very cold, sterile genre. It began with 1999’s Optimal.lp (12k1005), a groundbreaking debut release that immediately defined the Shuttle358 sound; a hybridization of the then-emerging “microsound” genre with Eno’s true ambient explorations. In 2000 Abrams outdid himself with Frame (12k1011) by honing his sound design and exploring production techniques at rates that made his “now” quite brief and creating what was to become one of the most sought-after CDs in the 12k catalog.
Chessa is the third release from Abrams’ Shuttle358 moniker on 12k and he continues to do what he does best: attempt to move microsound away from the world of theory and towards absolute real life. Like his photographs, Chessa is music about, and to be listened to in, unexpected places. It is a narrative, a simple slice of life that plays out through the incidental photography of the cover artwork. To achieve this Abrams fuses irregular granular sound particles, like the movements of everyday life, with a deliberate melodic base that captures emotion and simplicity.
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Produced by and featuring Aesop Rock. “I wrote half of these songs when my energy was either headed in the wrong direction or already there. I wrote the other half while my energy was moving in a direction I’m more excited about, that I find to be more enriching. They’re all still my songs though. My mother, and lots of my relatives, used to call me “Angelito.” Little Angel. The taijitu is the symbol for yin and yang. Opposites that make a whole. Given the dualistic/duelistic nature of the songs on the record, put it all together and what do you get, Anjelitu.” - Homeboy Sandman
While the pandemic paralyzed the entire world and prevented bands from touring, Latin America's biggest metal export SEPULTURA refused to sit back and act like an animal trapped in a cage. Like the flowers growing out of the deceased bird’s body depicted on the stunning colourful cover artwork by Eduardo Recife, the thrash metal pioneers from Belo Horizonte made good use of their unexpected free time to start a project that kept them busy throughout the entirety of 2020:
‘SepulQuarta’ was born at the very beginning of the pandemic when everything was halted”, guitarist Andreas Kisser remembers. “We had a new album out, but we couldn’t tour for it. Therefore, we created this recurring event where we could talk with our fans around the world, play our music and exchange ideas, it was a blast! »SepulQuarta« kept us alive and strong throughout one of the most difficult times in human history.”
“Doing Sepulquarta during this period allowed me to stay in contact with music. Playing my instrument was the only thing left to do in this pandemic,” adds drummer Eloy Casagrande, and indeed, music seemed to be a good way of coping with the never-ending lockdown and fear of loss and isolation that haunted people worldwide. Obviously, the Brazilian pioneers were not the only musicians feeling this way, so they started to connect with friends and colleagues worldwide and asked them to not only be part of their weekly podcast, but also join them in playing one of SEPULTURA’s classics tracks. From the safety of their homes, international stars like David Ellefson, Scott Ian, Danko Jones, Devin Townsend, Matt Heafy and many more recorded a SEPULTURA track together with the band, which have now been mixed and mastered by Conrado Ruther.
“We invited our amazingly talented friends to be a part of our project, either jamming with us or as a guest in the many Q&A’s we promoted,” Andreas explains. “We talked about our history, music, politics, sports, philosophy, depression and the environment among other things. We learned a lot with specialist guests and many of the great minds of today. Here you will find unique performances of SEPULTURA’s music from the many phases of our career, with amazing guest musicians that lent us their talent and energy to record these historical versions!”
‘Medieval Femme’, Fatima Al Qadiri’s new ten track suite inspired by the classical poems of Arab women, invokes a daydream through the metaphor of an Islamic garden, at the border between depression and desire, where the present temporarily dissolves, leaving only past and future. Mixing neon drones and the faint outlines of Arabesque melody, ‘Medieval Femme’ reveals a fully-realised, dreamlike setting, shaded with colour and subtle friction. Conveying a thematic state of melancholic longing, Fatima seeks to transport the listener to a place of reverie and desolation, to question the line between two seemingly opposite states and rejoice in celestial sorrow. ‘Medieval Femme’ takes instrumentation from music of the Middle Ages, recast in a futuristic setting; soft-synth lutes, organs and pipes reverberate in space while gauzy pulses ripple in response. Fatima's vocals of repeated, mantra-like phrases are sometimes pitched and altered, drawing out increasingly intense peaks, angelic choruses and yearning incantations. On ‘Tasakuba’, Kaltham Jassim’s recitation of a couplet from the 7th century poet Al-Khansa', the sorrow of her words are given a turbulent, hallucinatory setting, before the album resolves on the final song, the limpid, airy ‘Zandaq’.
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More dancefloor dynamite from Benin's almighty Orchestre Poly-Rythmo de Cotonou Dahomey, this time in the form of 'Gbeti Ma Djro'. Confusingly described on the centre label of the 1971 original issue as ’Soul’, this is in fact a prime slice of Afro-psych-funk complete with wails and grunts over fierce drums and picked guitar. 'Angelina II’ is a much warmer affair that rides a shuffling mid-tempo pachanga groove. Both tracks were transferred, restored and mastered from the original 1/4 inch tape.
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guccihighwaters is the artistic persona of 21 year -old artist/producer Morgan Murphy. Since his debut single in 2017, Murphy has exploded in the cloud rap community and his music has been streamed over 200 Million times. His new album, joke's on you, is his debut for Epitaph Records and will be his first available on vinyl. guccihighwaters is the keystone to the label's dedication to this sound that we feel is the future of Alternative music. Spending his formative years growing up in rural Ireland, Murphy was shy and when his family returned to their native New York, that shy 15 year-old turned to bedroom production and starting making his own beats. He began to indulge his musical vision by exploring community on the internet, finding a place to belong that he had not found prior. As a singer, Murphy was a bit of an outsider to the Soundcloud rap world he'd begun to orbit. "I was grouped in because of the time and place and platform," he says. His use of original piano with a classic touch and his angelic singing gave him an original voice with?in the scene's crowded world. Even if he wanted to blend in, he didn't know how. With Jokes On You, he says, "basically my goal was to make it sound like me." Some members of that community, like Powfu and nothing,nowhere, feature on the album, adding their voices to Murphy's signature sound. guccihighwaters is a top digital artist in the Indie Pop/Cloud Rap space, releasing his music on vinyl for the first time. Album features include lo-fi sensation powfu, top emo-rapper Convolk and popular alt-hip-hop artist nothing, nowhere. For Fans of powfu, Lil Peep, nothing, nowhere and Lund.
Reissue for KK’s third album, originally issued on the TWINS label in 1993. FULLY REMASTERED edition featuring one bonus track, full color poster by ALTEAU and double-sided lyric insert. Limited to 500 copies.
Reissue for KK’s third album, originally issued on the TWINS label in 1993. FULLY REMASTERED edition featuring one bonus track, full color poster by ALTEAU and double-sided lyric insert. Limited to 500 copies.
In 2018 one of metal’s most defining and revolutionary vocalists, WARREL DANE, celebrated his highly anticipated inaugural solo effort, “Praises To The War Machine”, which saw him further honing his craft to perfection. Dane, who first shattered the boundaries of conventionality with the legendary Sanctuary and Nevermore, proved that he is one of metal’s most diverse frontmen with this solo effort as he unleashes a barrage of introspective and personal lyrics that are heartfelt and extremely powerful. All of this emotion backed with his soaring angelic and dynamic vocals provides all of the necessary elements for a savagely captivating, melodic assault that quickly hooks you in. Before beginning this new venture Dane went out and surrounded himself with some of the best musicians that he could find. This search ultimately resulted in landing the renowned Peter Wichers (ex-Soilwork) on guitars and bass, Dirk Verbeuren (Soilwork) on drums and Matt Wicklund (ex-Himsa) on guitars. The effort was also recorded and mixed by Wichers (coproducer Soilwork) and features guest musicians Jeff Loomis (Nevermore) and James Murphy (Obituary, Testament, etc.). Additionally this 2021 extended version reissues contains four live tracks from the album on side C featuring singer/songwriter Jonny Smokes which also will be available on all digital platforms. “Praises To The War Machine” is an absolute must for all Nevermore fans. Prepare yourself for the sheer beauty and elegance that awaits.
Captain Rip Hayman (b.1951, New Mexico) has come ashore again, bearing fresh cargo. A student of John Cage, Ravi Shankar, and Philip Corner, Rip was a founding editor of the notable Ear Magazine (1975-1991), and since 1977 he has run New York's oldest bar, the Ear Inn. The focused minimalism of his new LP Waves: Real and Imagined varies from the collaged spectacle of his first Recital LP, Dreams of India & China (2019).
This oceanic dish holds two side-long works: “Waves for Flutes,” a multi-tracked flute composition recorded by the artist in 1977. ‘Angelic’, ‘Grave’, and ‘Sad’ modes overlap an effect of medieval choral organum, as shifting patterns evoke water and wind variations of the shore and vast sea beyond. An enchanting and arresting piece.
The second side holds “Seascapes,” which was recorded on the Pacific ocean in February and March of 2020 – through calm seas and tempestuous storms. The ship as the instrument played by the sea. We feel both lost and saved when at sea, the landfall feared or longed for.
The album is dedicated to all those whose souls have been lost and found at sea amidst the waves, for each sea wave is a child of Oceanus & Tethys, Greek gods of the sea, every one sent on their way to play...
Australian artist Indigo Sparke Brings her deeply personal lived experiences to her music, highlighting the spaces between the polarity of softness and grit. Pulling from her experiences of addiction, of healing, of queerness, of heartbreak, of joy, of connection, of the softness and of the grit alchemizing it all into tenderness through her music, she conjures up a myriad of feelings that is undeniably potent. It was in 2019 that Indigo lived and travelled across America, in places like NYC, Minneapolis, Topanga, Taos, in many hotel rooms and amidst the vast stretching landscapes on the never ending highways, channelling her creative energy into the completion of her debut album, echo. echo was recorded between LA, Italy and New York, co-produced by Sparke, Adrianne Lenker (of Big Thief), and Andrew Sarlo (producer of Big Thief, Nick Hakim, Bon Iver, Hand Habits, etc). The record was completed at Figure 8 Studio in New York City, studio of musician Shahzad Ismaily. Phil Weinrobe (producer/engineer for Leonard Cohen, Damien Rice, Adrianne Lenker, Buck Meek, etc) engineered and mixed the album. "Indigo's writing and voice are ethereal and angelic and guide me through internal canyons and plains. I'm deeply grateful to have been part of this and to have gotten to play and sing along side Indigo, and to have been able to eternalize a very special space and time with her, which I will always cherish." -Adrianne Lenker "With these songs and her filament voice, Indigo brings us in to a private place and lights a fire there." -Feist
