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Record Kicks presents "Gurami" the first single from the forthcoming "Origin of Forms" album, the vibrant debut album by Moscow funk band The Diasonics with a mix of cinematic funk, instrumental hip-hop and soviet psychedelia.

Record Kicks is proud to present the mesmerizing psychedelic universe of The Diasonics. "Gurami" is the first single taken from "Origin of Forms" the startling debut full-length by the Muscovite band, coming out on January 28 2022 on ltd edition LP, CD and Digital. "Gurami" is an instrumental funk cut with heavy abstract hip hop influences and it will be available on limited edition 45 vinyl and digital.On the flipside the instrumental soul bonus track "Gradients". The 45 is limited to 500 copies wordwide.

Welcome to "hussar funk", that's how The Diasonics call their music: a style that blends infectious deep funk instrumentals, East European flavours, hip-hop rhythms and psychedelia. Firmly rooted in the late 60s and early 70s, their debut album "Origin of Forms" was recorded on an 8-channel Japanese tape recorder Otari MX-5050 MK III at The Diasonics HQ's Magnetone Studio in Moscow and was mixed by Henry Jenkins (The Cactus Channel / Karate Boogaloo) in Melbourne.

The Diasonics are one of the latest additions to the Russian instrumental funk scene. The band was only formed in 2019 and it's made of five young and seriously talented Muscovite musicians: Anton Moskvin (drums), Maxim Brusov (bass guitar), Anton Katyrin (percussions), Daniil Lutsenko (electric guitar) and Kamil Gzizov (keyboards). In just a couple of years the band has amassed a cult following, releasing a shower of ten celebrated singles and various in-demand 45 vinyl records on funk labels such as Funk Night Records and Mocambo Records.

Fans of Khruangbin, Dj Shadow and of instrumental soul, take note!

Having already impressed via a slew of releases for Correspondant, Live At Robert Johnson and his own Biologic Records, DC Salas tees up an impressive release for Futureboogie. ‘The Weight Of Uncertainty’ EP illustrates the suave sounds that the Brussels born producer has become noted for, and comes backed with a remix from the supremely talented and always on-point I:Cube.

In its original mix, ‘The Weight Of Uncertainty’ dips into a smorgasbord of sound, as touches of Belgian New Beat slide on up against balearic disco tropes for a spectacular body & soul workout. The legendary French disco architect and Versatile Records mainstay, I:Cube, floats in on a little fluffy cloud for a terrific ambient dance version, fuelled by the kind of IDM brain scrambling sounds once present in the DNA of producers like Carl Craig, B12, Black Dog and Autechre.

On his two other originals, DC Salas gets raw and grungy on ‘Gliding Sound’, its distorted edge adding to the drama composed by the heavy hitting synth lines and the gnarly percussive pattern, whilst ‘They Don’t See It’ introduces some dark acid elements to the chugging rhythm and steely hi-hats anchoring the tracks off-kilter melodies.

Freestyle Records in association with Rare Sounds USA present a stellar repress of Speedometer's 2003 debut LP This Is Speedometer.

Originally released on Clive Johnson's Blow It Hard (started after the demise of the well-loved weekly Soho club night of the same name, and home to the New Mastersounds first releases alongside choice cuts from JTQ and others) This Is Speedometer showcased the sounds of one of the UK's premier acts in the deep funk scene of the early noughties for the first time on the long player format.

Starting out back in 1999, Speedometer started out as an instrumental quartet gigging in small clubs in the Southeast of England, paying homage to classic funk tunes by artists such as The Meters and The JB's. The band soon expanded and began writing original material, adding the highly regarded horn section and vocalists in 2001, which enabled them to deliver the powerhouse deep funk sound on display here. In addition to their own albums, singles and live shows, Speedometer have backed many US funk & soul legends including Sir Joe Quarterman, Eddie Bo, Marva Whitney, Sharon Jones & Lee Fields and more.

Now coming up on 20 years since it's original release, you can now marvel at Speedometer's classic, original soul-funk sound thanks to a sparkling new cut. Dig in!




d 04: Just Keep On (Doin the Do) feat. The Speedettes

Hot on the heels of their landmark remix of ‘Lost My Love’ by Kenny Cox, DJ Amir and Re.decay return to BBE Music with a rework of Maulawi’s ‘Street Rap’, plus a new version of Fito Foster’s ‘Salsa’ by DJ Dez (aka Andrés) featuring Amp Fiddler. Originally issued as the opening track on Maulawi’s self-titled 1974 album by Detroit’s Strata Records, ‘Street Rap’ is a slept-on jazz/funk classic. As part of his role as curator and archivist of the Strata catalogue, DJ Amir discovered the original stems for the track and was happy to discover they had survived the years well. “I thought we could really do something different with this song” say Amir. “Like making it more of a mid-tempo ‘four to the floor’ groover. Also, I wanted us to play with the original vocals a bit for the updated version. This is by far our favourite remix!” Previously serving as DJ for Slum Village and releasing on Moodymann’s Mahogani Music simply as Andrés, DJ Dez Andrez is part of the fabric of Detroit’s unique and eclectic music scene. But few people know that Dez’s father is Cuban music hero Humberto “Nengue” Hernandez, a highly respected percussionist and vocalist who starred in the 1988 motion picture ‘Salsa’. “So I reached out to Dez because I knew his father sang and played on the Fito Foster song “Salsa’” says Amir. “I have had the stems of the song since the beginning of my license deal with Strata. I thought it would be a great homage to have Dez remix his father’s music. Plus, Dez was definitely excited to do so!” For his remix, Dez called upon Detroit legend Amp Fiddler to play additional keys and piano on the remix, while Dez also added additional percussion to compliment his father’s, like a time-travelling jam session going back almost 50 years. Staying true to his Cuban roots, Dez’s remix brings a contemporary twist to this timeless track.

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound.

Destination' comes from an album Behind The Mask', recorded and first released in 1982. The project started out intending to be a new Incognito album, and follow up to the debut Jazz Funk', but took a different direction. With Bluey and original members of Incognito at the helm, Behind The Mask' welcomed additional guests musicians to become a separate entity and landmark 80s UK fusion album. Destination' has always been a go-to track, an electrifying full vocal dancefloor filler on the album but never previously released as a 12' single, with the Diffusion Re-Edit never previously available on vinyl. Both versions currently much in demand.

Limited edition coke bottle clear LP with download card.
Currently, there is a bleak outlook on global ecology. With glaciers melting at an alarming rate and wildfires decimating over 6 million acres of forest each year, it is clear; we as a species are running out of time to rectify our planet's destructive direction.
Italian ambient duo ILUITEQ has composed their second album, aptly titled The Loss of Wilderness, echoing our current ecological situation's sentiment. By way of meticulously crafted subterranean ambient utilizing guitars, piano, and a myriad of synthesis techniques, the duo of Sergio Calzoni and Andrea Bellucci create arcadian movements in memory of landscapes destroyed by humanity's negligence.
A strong yet bucolic statement from one of the newest additions to the n5MD roster

On the heels of his breakout year, Swiss indie rocker Sam Himself - New Yorker by choice, ‘Fondue Western’ baritone by trade - prepares to release his debut album, Power Ballads (October 8th). The Brooklyn-based songwriter, performer and multi-instrumentalist has been sounding the bell for his first LP with a number of singles.
This full-length debut follows last year’s acclaimed Slow Drugs EP, the artist’s third which earned him the Swiss National Broadcasting Service’s Best Talent Award in 2020 and a nomination in 2021 for a Swiss Music Award, the most prestigious national prize of its kind in Sam’s home country.
Power Ballads marks the latest collaboration between Sam and his longtime producer, mixing engineer Daniel Schlett (The War On Drugs; Iggy Pop), as well as mastering legend Greg Calbi (Bruce Springsteen; David Bowie). Sam plays most of the instruments on Power Ballads himself, with producer Schlett adding sounds, textures and of course his singular mixing style (as heard recently e.g. on Iggy Pop's cover of The Velvet Underground's European Son).
Sam Himself is set to tour in support of his debut album well into the spring of next year, with some 30+ European dates in Switzerland, Germany, Austria, the Netherlands and beyond (US-dates in planning).

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

Long-time musical pen pals and partners David Madson (aka Odd Nosdam) and Markus Acher (aka Rayon) re-establish the connection between Weilheim, Germany and Berkeley, California for the first time since 2011, when US alt hip-hop innovators Themselves and German indie electrifiers The Notwist teamed up to form 13 & God. Nosdam & Rayon return with a heavy-hitting collaborative EP “From Nowhere to North”.

Based on a shared love for “obscure albums and 60s/70s melancholy psychedelia,” they started working remotely in 2017, ultimately deciding to release four collaborative tracks that feature Madson’s beats, samples, and production, with Acher adding vocals, guitars, more samples, and various instrumental layers.

Psychedelic pop melodies sail over steady beats on the opener “From Nowhere to North” – a track that perfectly sets the tone for the whole EP. Elsewhere, fuzzy lights over the “Desert” and more reassuring beatscapes serve as compass to stay the course, while “Bow and Arrow” feels fairly mesmerizing: fast-moving layers, moving up and down, floating over the Atlantic, northward bound. Closing out the EP is “Colours / Heavy Load”, an epic 10-minute finale: after the raw and gritty lo-fi acoustic intro, the first part comes with a grainy guitar tune that soon leads to a vast plateau; once up there, things feel surprisingly serene and soothing – like the last warm rays of October light slowly fading as we move further north.

Both huge fans of Bristol’s late 90s DIY/post-rock scene (e.g. Flying Saucer Attack, Crescent, Third Eye Foundation, Movietone), Odd Nosdam & Rayon are happy to present their new EP with an artwork created by Movietone’s Kate Wright.

 The seven-headed Aussie rock beast King Gizzard & The Lizard
Wizard return with a new vinyl edition of ‘Fishing For Fishies’,
perhaps their most perfectly-realised album to date.
 The Eco Edition has been pressed on Eco-Mix vinyl and is housed
in a brown paper bag after previous pressings quickly sold out.
 Released on the band’s own Flightless Records, here is a world
where the organic meets the automated; where the rustic meets
the robotic. Where the past and future collide in the beautiful
present.
 ‘Fishing For Fishies’ is a blues-infused blast of sonic boogie that
struts and shimmies through several moods and terrains. From the
soft shuffle Outback country of the opening title track through the
sunny easy listening of ‘The Bird Song’ (think a lysergically-soaked
Laurel Canyon circa 1973) and on through the party funk of
‘Plastic Boogie’ (which somehow summons the spirit of Stevie
Wonder’s ‘Innervisions’) the road-trucking, Doors-like highway
rock of ‘The Cruel Millennial’ and ‘Real’s Not Real’ - what
Carpenters might have sounded like had they existed entirely on
vegemite and weed - it’s a dizzying, dazzling display which
addresses a number of pertinent environmental issues along the
way.
 “We tried to make a blues record,” says frontman Stu Mackenzie.
“A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it -
or maybe it was us fighting them. Ultimately though we let the
songs guide us this time; we let them have their own personalities
and forge their own path. Paths of light, paths of darkness. This is
a collection of songs that went on wild journeys of transformation.”
 Quiet though it was on the record front, 2018 was hardly a year of
rest for King Gizzard & The Lizard Wizard. In almost perpetual
motion, the band continued their unstoppable rise as their
juggernaut of a live show grew and grew and grew, with a mindblowing headline slot at Green Man Festival, a massive sold-out
US tour in the summer which saw them play their biggest venues
to date, a brain-frying sold out Brixton Academy show, two gigs in
Russia and Istanbul where they played in front of over 15,000
people and putting on the fourth edition of their annual Gizzfest in
Melbourne amongst the highlights.

Rough Trade Records announce the release of the
15th Anniversary edition of The Long Blondes’
debut album, the acclaimed ‘Someone To Drive
You Home’.
 The home of a host of indie disco classics with its
noir atmospheres and vivid storytelling - qualities
that saw the record inspire recent, generationcapturing movie ‘Giddy Stratospheres’ which takes
its name from The Long Blondes’ iconic single -
the Sheffield band’s first album managed that rare
trick of capturing the 2000s zeitgeist while leaving
a timeless artistic mark for the ages.
 Initially inspired by the frisson of the indie disco -
now, fittingly, a classic of low lit dancefloors
everywhere - ‘Giddy Stratospheres’ is The Long
Blondes’ sophisticated calling card. A swirl of
razor-sharp guitars and vivid storytelling, waltzing
melodies and burning vocals, the Sheffield band’s
2000s single fizzes with dancing, desire and the
most stylish sing-a-long you’ll ever hear.
 The Anniversary edition of ‘Someone To Drive You
Home’, which was originally released in November
2006 and was produced by Pulp member Steve
Mackey, comes as a gatefold double LP, pressed
on to red and yellow vinyl to mirror the album’s
artwork - a picture of actress Faye Dunaway
painted by frontwoman Kate Jackson. The edition
features the original record, plus 11 additional
tracks that the band used on B-sides.

In celebration of the 10th anniversary of Lady Gaga’s iconic album Born This Way, Born This Way The Tenth Anniversary includes Lady Gaga's original Born This Way album, along with six new versions of songs reimagined by artists representing and advocating for the LGBTQIA+ community, including Kylie Minogue, Big Freedia, The Highwomen, Orville Peck, and more. The 3LP version includes 3 additional tracks.

"UMC celebrate the 50th anniversary of The Band’s classic fourth album, Cahoots, with an assembly of newly remixed, remastered and expanded 50th Anniversary Edition packages, including a multi-format Super Deluxe 2CD/Blu-ray/1LP/7-inch vinyl box set along with a 2CD and 180-gram half-speed-mastered black vinyl. All the Anniversary Edition releases were overseen by principal songwriter Robbie Robertson and sport a new stereo mix by Bob Clearmountain from the original multi-track masters. The box set and CD configurations boast a bevy of unreleased recordings, including Live at the Olympia Theatre, Paris, May 1971, a rousing bootleg partial concert consisting of 11 tracks culled from the initial throes of a European tour that found The Band perched at the top of their live game; and early and alternate versions of “Endless Highway” and “When I Paint My Masterpiece” along with six other early takes, outtakes, instrumentals, and stripped-down mixes.
Exclusively for this box set, Clearmountain has also created new Dolby Atmos and 5.1 surround-sound mixes of both the album and four bonus tracks, presented in high resolution on Blu-ray, alongside the new stereo mix. Every new audio mix has been mastered by Adam Ayan at Gateway Mastering. The lift-top box set also includes an exclusive reproduction of the Japanese pressing of The Band’s 1971 7-inch vinyl single for “Life Is A Carnival” b/w “The Moon Struck One” in their new stereo mixes; a 20-page booklet with new notes by Robbie Robertson and extensive insider liner notes by Rob Bowman; three classic photo lithographs, one each by Barry Feinstein, Richard Avedon (his infamous eyes-closed group portrait from the back cover) and noted New York artist/illustrator Gilbert Stone (who painted the still stunning stretched-out portrait of The Band on the album’s front cover); plus a wealth of additional material and other historical data from the original recordings sessions. The limited-edition 180-gram black vinyl release that features a tip-on jacket also contains a photo lithograph by Barrie Wentzell that’s unique to the package."

“And now for a gentleman who’s come all the way from Kingston, Jamaica and a place called Cling Cling Avenue. We present to you the one and only, the Originator, the Godfather, Daddy U Roy!”

U Roy had visited Brighton before but there was something special about that balmy night in August 2017, when he walked out on stage at the Komedia to a hero’s welcome and immediately got the crowd cheering and dancing. There was so much warmth and excitement generated that night, and it’s all captured on this final live album of the reggae superstar’s illustrious career.

U Roy wasn’t quite the originator, but he was the first Jamaican deejay to dominate the Top 3 places on both radio stations and turn his predecessors’ simple exhortations into an artform – one that evolved into a global phenomenon. It was his performances on King Tubby’s Hometown Hi-Fi that made him the talk of Jamaica and led him to Treasure Isle studio, where he voiced hits like Tide Is High and Wear You To The Ball. From then on his catchy, uplifting rhymes could be heard on radios and jukeboxes throughout the island, as well as from behind the control tower of his King Stur Gav sound-system, where MCs like Josey Wales, Brigadier Jerry and Charlie Chaplin learnt their craft. The veteran deejay, who died in February 2021, continued recording and touring into his late seventies, and without abandoning either his musical standards or Rastafarian beliefs. At his peak, U Roy voiced for Jamaica legends like Lee “Scratch” Perry, Bunny Lee and Channel One, in addition to several European labels. What most of his recordings have in common is a sense of hope and often joy, because even Get Up Stand Up is delivered with optimism. They are the qualities that come across on this life-affirming set, recorded in front of an appreciative audience, and backed by some of the UK’s finest reggae musicians.

Blood On Satan’s Claw – AKA Satan’s Skin in the USA, is a cult British horror movie from 1971. It’s a film from the golden age of British horror, and one that ticks most of the horror connoisseur’s boxes - it stars the Devil, Olde England, it has nudity, strange ritualism, a fair smattering of blood and of course, sublime music. Produced by cult masters Tigon, this film was the perfect companion piece to their earlier Witchfinder General (1968). Set in rural 17th century England, it tells the fine story of a small village that quickly falls under the devil’s spell. It’s brilliantly told and quite beautifully shot with a very fine cast of superb character actors.
Over many years the film has slowly gained a cultish reputation, and there are rumours that good old Tim Burton is a very big fan and used the movie as an influence for his “Sleepy Hollow” production.
The score was never released. Written by Marc Wilkinson, former director of music for the National Theatre, this cult soundtrack takes its lead from “The Devil’s Interval”, but more about that in the next paragraph. Musical appearances from the Ondes Martenot (the earliest electronic instrument) and Cimbalom add to the overall spookiness of this recording. And in 38 years the music has lost none of its depth or addictive, evil hooks. The first pressing sold out many years ago and commands high prices. A repress has been requested for many years.
Here’s Marc Wilkinson’s thoughts…
“The descending chromatic scale which features throughout the music omits the perfect fifth (the only true consonant in the chromatic scale) and therefore highlights the diminished fifth, which ever since the middle ages in Europe has been known as the Devil's Interval!!”
BRIEF ARTIST INFO: Marc Wilkinson was musical director of the National Theatre throughout the 1960s. He scored a number of films in the late 1960s and 1970s including “If” for Lindsay Anderson. Wilkinson currently lives in France.

Late 1980’s to early 90’s guitar pop/rock n roll band from Dunedin, New Zealand. Stephen featured David Kilgour, Alf Danielson, Geoff Hoani, and Stephen Kilroy.

Formed by David Kilgour after The Clean first split. They released an EP on Flying Nun records in 1988 as a three piece, later added another guitarist and recorded for a record that didn’t happen. Remastered, rescued and compiled for this release. New art and liner notes, insert with prev. unseen photos and fliers. Tracks from the Dumb EP, Radar of Small Dogs, as well as studio tracks from sessions towards the never-completed LP.

Interview with David Kilgour about the band coming up in the next Maggot Brain issue.

"Stephen Kilroy recently reminded me that my idea for the band was to have no aspirations, apart from making new music, and that it was a casual experiment. I’d forgotten that. I remember having a long break after the Clean first split. I wanted to keep making music in a low-key way, and with other musicians I could write and share the spotlight with. I’ve always wanted to be in someone else’s band." - David Kilgour, from the Maggot Brain interview.