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26 iconic titles from the golden age of French song, includes 12-page
booklet with complete information in both English and French


Moving away from the big theatres and flourishing in clubs and small cafés, French Song had its summit in the mid-20th Century, when figures such as Edith Piaf, Charles Trenet, Jacques Brel, Georges Brassens, Léo Ferré, Dalida, Charles Aznavour, Henri Salvador, Juliette Gréco, and Serge Gainsbourg, disseminated their art first in Paris, and then throughout the world. It was a new kind of song,
influenced by literary realism and the naturalist movement, and its lyrics frequently focused on the lives of socially marginalized people.
Twenty- six of the best exponents of the genre are included on this splendid collection

Released in 1958 on Columbia, the five- star review by AllMusic's Thom Jurek called it ".. a classic album with blues material in both bebop and post- bop veins…….which introduced modalism in jazz and defined Davis' subsequent music in the years to follow."A precursor to 'Kind of Blue', 'Milestones' was the first session to feature John Coltrane and Cannonball Adderley.

"Davis' statements here are genuinely eloquent. Coltrane's efforts here do indicate that he is rapidly moving toward a niche of his own, absorbing influences but not being obsessed by them. Adderley is less than individualist but is performing on a level of fluency which will make the discovery of a self-sustaining role less difficult in time." - Don Gold, DownBeat (1958)

"The exquisite corpse shall drink the new wine", wrote the French Surrealists almost 100 years ago, and from this missive stems the parlor game in which we partake here. Through obscuring the tower itself, they cobble together meandering staircases in which to ascend with absent-minded haste; spontaneous line-weaving amasses figures and phrases into new planes of thought, therefore holding captive the illusion of creative reciprocity. Although housed in unrecognizable quarters, dull rain now tallies itself upon your window panes just as it once kept count on theirs. Apparitions unknown sound instruments of winding origin in celebration of the ink dry in the well. A graffito of tea leaves stains the porcelain cup.

This cloven tall-tale traces an epistolary journey between id and consciousness upon a page that has been adorned and wiped clean again and again and again. The wet meadow expands and contracts within a breath, moving through the windpipe to expel upon the glistening dew. From this dew rises anthills of diminishing complexity, and busying themselves within insanity, the occupants labor to hold fast against the unseen wave of oblivion.

An exercise in aleatoric sentence-finishing between two aligned performers, The Exquisite Corpse Shall Drink the New Wine mimics the economics of unconscious beauty-making to such a degree that light will neither pass through it nor divert its path. Draw upon it what you will, and ready yourself for the unrelenting ataraxy.

The Line Is A Curve is about letting go. The core of the record is that the pressures we face do not always have to be heavy burdens, but can be reframed; the more pressure a person is under, the greater the possibility for release.

The album plays like a chronicle of pressures - the mind-numbing pursuit of a comfortable life, the eternal striving for more, the pressures of the city, the country, the times. The pressures of maintaining relationships, of battling illness, addiction, poor mental health, the vacuous life of our online selves. As we move through these chronicles though, the mood brightens. The musicality becomes more expansive as the lyrical horizon broadens and we glimpse coastlines, high streets, scrap yards, train stations in the rain; the entire album begins to let go. We encounter the contributions of artists who I love and admire, guest vocalists and instrumentalists, and so we defeat the sense of isolation felt in the opening track with a sense of deeply connected community. More Pressure, the penultimate song, is the essence of the whole album and the epiphany that leads to Grace, which is a prayer, a surrendering; ‘Please move me, please move through me, please unscrew me, please loosen me up.’ But once we get to the end of Grace, and the album, we loop back to the start – to ‘Kiss off the day with a mute mouth. Pass the commute like I can die faster than you.’ Because no matter how much a person grapples with, realises, deeply understands, about life and their place in it, we still wake up in the morning back to square one. Life isn’t solved the minute you figure something out about it. It’s a daily operation to increase your resilience, cultivate a deeper acceptance, let go of what’s chasing you and lean in to the pressures. It’s cyclical, as I believe all things are. And instead of trying to fight the cycles, this album asks us to surrender to them. To let go.

These general themes, of acceptance, resilience, surrender are also about where I’m at in my personal life, in my journey towards a greater acceptance of myself as an artist and as a human being. Being more honest with the world and my community about who I am and letting go of some heavy heavy shame, which is a glorious thing.

This album has a beautiful heart, there is so much love running through it and I can’t wait for people to experience it.

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

Binary Operator debuts on UTTU with a gorgeous ep that flips the script absorbing electro, underground house and techno.

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

We're all unabashed fans of Steely Dan so we take Steely Dan covers seriously. Mainly "why bother"? You can't improve on perfection right? However, when we heard Deep Heat's scintillating version of "Do It Again" we changed our minds. A totally brilliant funkier version of Steely Dan's first-ever hit which stands loud and proud in re-interpreting this classic song into something much more appropriate for today's more sophisticated dance-floors.

Originally released on the tiny Detroit label, Cu-Wu, original copies soon ran out. There is currently just one available in the entire world for $1000 and that'll be gone in a blink. The smart money says hold on for a mint reissue on the original label.

A great socially-conscious flip too, the uptempo funky "She's A Junky (Who's To Blame)". All in all, this is a killer double-sider and will also appeal to Steely Dan collectors and enthusiasts across the board. Expect strong demand. I mean who wouldn't want this within their collection? Absolute banger. Both sides!

One of the most rewarding things about this business is when we get the chance to re-release some true works of art which were previously hindered by their lack of availability. Plus, you KNOW that we LOVE every Willie Tee record we come across anyway. This time we're delighted to make available another double-sided slice of New Orleans niceness.

"Concentrate" is Willie at his mellow best with the Gaturs on this incredible 1980 recording, which really highlights just how great he was. On the flip, is a brilliant piece of New Orleans Mellow Funk which matches the sound of Roy Ayers for pure quality. Original copies of this record are not currently available anywhere for any amount of money. That's how ridiculously rare the original Gatur copies are. We have a great track record with Willie Tee and long may it continue! One of the best double-siders you'll ever be likely to hear and an absolute gas to get to reissue. Spread the joy. Another biggy!

One record which has lately come to prominence is the brilliant "After Hours" by Charlie Mitchell aka Vic Marcel on an absolutely gorgeous slice of mellow Rare-Groove which recalls the Leon Ware vibe perfectly. Produced and arranged by seasoned veterans Tony Silvester and Bert DeCoteaux this incredibly hypnotic song was also written by top writers J.R. Bailey and Ken Williams. "After Hours" has grown in popularity particularly over the last few years with original copies now reaching the £200-£250 valuation.

The flip-side is another slice of beautiful mid-tempo soul from the same production stable. Only one copy currently available the last time we checked, such has been the demand over the last two years especially. Quite why this record has been underground for so long is open to debate. Vic Marcel was under contract to RCA at the time hence the Charlie Mitchell pseudonym. Janus were also suffering distribution problems at the time which explains why the original is so rare. We're proud to finally make this available again on the original Janus imprint. Another double-sided beauty.

Micheal “Eyedea” Larsen and Gregory “DJ Abilities” Keltgen first met in the mid-90s and soon began a working relationship that would play a prominent role in the burgeoning Indie-Rap movement of the time. After numerous successes across nearly every notable MC or DJ battle of the late ‘90s and early ‘00s, including HBO’s Blaze Battle, the Rocksteady Anniversary, Scribble Jam, the DMC’s and more, they had already cemented their legacies both as individuals in the battle scene and as the dynamic duo, Eyedea & Abilities, for their live performances and showmanship. However, determined not to be dismissed as one-dimensional, they set out to prove they were to be taken just as seriously at writing and recording. Together, they developed a near symbiotic creative union that produced three albums—First Born; E&A; and By The Throat—before Eyedea tragically passed away in 2010, at the age of 28.

The release of their debut album, First Born, had revealed their talents to be much more versatile and expansive than previously expected. The boastful arrogance and punchlines that had become synonymous with battling were notably scarce on the album. Eyedea chose to tackle subjects that were more conceptual and philosophical in nature, focusing on matters of reality and altered states of perception while pushing his urgent, dense delivery into darker, more abstract terrain. Meanwhile, DJ Abilities was able to craft worlds of depth and emotion, pairing hauntingly suspenseful beats with meticulous turntablism. The resulting album was rich in ambition, ideas and humanity. First Born came at the forefront of an exciting new era of underground hip-hop, delivering messages that emphasized questions over answers, ambiguity over certainty, and self-expression over exploitation, to an audience that was eager to expand their horizons beyond the commercial programming and clichés of the time.

Mit ihrem neuen und dritten Studioalbum "Ad Astra" melden sich BLOODRED etwas mehr als ein Jahr nach der Veröffentlichung ihres letzten Albums "The Raven's Shadow" zurück und zeigen sich reifer und vielschichtiger denn je!

Musikalisch hat Ron Merz daran gearbeitet, die Charakteristika von BLOODRED weiter zu verfeinern, ohne den typischen Sound aufzugeben. Auf dem Album finden sich wuchtige Death Metal-Songs neben epischen Hymnen mit mehr als nur einem Hauch von Black, einprägsame Melodien und komplexe Songstrukturen. All dies gipfelt im Titelsong, der mit einer Spielzeit von über 11 Minuten alle typischen BLOODRED-Merkmale vereint und den Hörer absolut herausfordern will. Jeder Song kann auf dem neuen Album für sich stehen und dennoch ist "Ad Astra" ein stimmiges Album, das alle Fans von extremem Metal unbedingt im Auge behalten sollten.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

VARIOUS - TERRITORIO DEL ECO:EXPERIMENTALISMOS...PER· ( HIGHLIGHTS
First compilation brings together the Peruvian experimental scene from 1975 to 1988, a period was the most prolific for a generation of Peruvian artists who, based on musical conceptions derived from modern jazz and techniques inherited from avant-garde music. Collect unpublished and loss pieces from artists such as Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Chocolate Algendones and Corina Bartra. Rescued from private archives and limited editions on cassette. DESCRIPTION First compilation brings together the Peruvian experimental scene from 1975 to 1988, a period was the most prolific for a generation of Peruvian artists who, based on musical conceptions derived from modern jazz and techniques inherited from avant-garde music, sought to integrate the sounds of Andean, Afro-Peruvian and Amazonian cultures in search of a new musical universe. Native instruments and folk melodies were used in compositions that demanded modern recording techniques and electronic sounds. This generation was articulated in Lima and was made up of musicians such as Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Chocolate Algendones and Corina Bartra. But more than a movement, it was a set of individuals from dissimilar origins, who came from rock, jazz, contemporary classical and popular music, but also from the visual arts and poetry, and who had in common the cultural climate of the late seventies and early eighties in a country marked by a series of social and economic transformations, as well as the emergence of new visions and insertions of Andean culture and folklore in the city. The appearance of a mythical substrate connected the work of these musicians and defined an aesthetic, based on the deconstruction of folklore and the exploration of the possibilities that indigenous instruments offered. From there, these musicians immersed themselves in abstract, but also symbolic and conceptual forms. In many cases, they were strongly influenced by jazz and were keen to explore the possibilities of the recording studio. Territorio del eco: experimentalismos y visiones de lo ancestral en el Perú (1975-1989) - The Land of Echo: Experimentalisms and Visions of the Ancestral in Peru (1975-1989) - is a compilation that offers an overview of what was one of the moments of greatest creative intensity for experimental music in Peru in its encounter with indigenous sounds. Collect unpublished and loss pieces, rescued from private archives and limited editions on cassette, these pieces are reissued for the first time in vinyl LP format. The album includes 8 pages booklet with extensive notes written by Luis Alvarado, author of the compilation, as well as much visual documentation. Cover art by Paloma Pizarro. Limited to 300 copies. Beneficiary project of the Economic Stimuli for Culture of the Ministry of Culture of Peru.

A collaboration oozing with class and consideration, 'Crackdown' is a piece of music that celebrates and remembers the absolute legacy of two of the finest minds to ever grace this genre and beyond, Marcus Intalex and Spirit.

Described by Goldie as one of the purest drum and bass tracks he's ever heard, 'Crackdown' was an instant hit with crowds and swiftly emerged as one of the most sought-after Metalheadz tracks in recent times. Coming as a 1 sided record with the Soul:r and Inneractive logos delicately etched onto the other, this is what we hope will be a fitting release to form part of the ongoing 25 Years of Metalheadz series.

The Psychedelic Freaks is a new alias of Horatio Luna's. The aptly titled debut LP 'Passing Through The Doorways Of Your Mind' is an introspective 70s fusion space odyssey.

An Afrobeat, Psychedelic jazz, funk fusion experience inspired by the Miles Davis's electric era.

Inspired by the genius of Fela Kuti, Miles Davis, Frank Zappa, Dave Holland, Paul Jackson, Carol Kaye, Jimmy Hendrix, James Brown, and Alice Coltrane.

Special thanks to Mandarin Dreams for putting a guitar in my hands and On-Ly for putting a wah pedal in front of it.

Hotel Paral.lel, released in 1997, marks the full length debut release from Austrian Christian Fennesz, originally released by MEGO, following the twitching drone as found on the 1995 EP Instrument, also included in this deluxe 2LP reissue. Once launched, Hotel Paral.lel was to instigate a sublime exploration of a wide variety of forms, from formal abstraction to shimmering drone around to ground zero glitch pop.

Recorded just before mobile computing devices became omnipresent it was an investigation into the sonic possibilities residing in guitar based digital music. Sz launches the career with a constantly buzzing sound that resembles a fax machine encountering a G3 laptop for the first time, realising the game is up. Nebenraum is the first foray into the style for which one would attribute to Fennesz. A glacial drone unexpectedly morphs into a gorgeous melody and microscopic groove. Adding pulse and melody was hearsay in the radical end of experimental music up until this point and with this single gesture, everything changed, for everyone. Blok M nails this trajectory home with a straight up 4/4 beat. Such rhythm also features on Fa with a euphoric mix of a thudding beat, sharp splinters of noise and a devastating exploding melody. Repetition plays heavily through this album as the hyper metronomic beat on traxdata lays a bed for all manner of buzzing electronics. On the closing “Aus” we see a glimpse of what was to come in the future works of Fennesz, an experiment in popping, bubbling pulse pop. A far more darker and experimental work than Fennesz’ subsequent work. This is an exquisite radical field of freeform noise, sliced techno beats and subtle ambient texture all coming together to create a timeless work. There’s little out there in the world of music, still to this day, that sounds remotely like Hotel Paral.lel.

With a radical reinvention of music Hotel Paral.lel is an essential addition to collectors of pioneering music in the late 20th Century and sounds as enthralling today as it did to the shocked ears occupying 1997.

Remastered by Stephan Mathieu.