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Earthly Measures' second vinyl release of the year sees them team up with the talented & mystical producer & multi-instrumentalist Sidirum - bringing you Balearic & Downtempo flavours from Argentina - sounds that haven’t always been associated with his style. An EP that fills you with euphoria & nostalgia, trying to find those sounds that can take you to another time just by listening to them - as he puts it, "rhythms from the past".

For Sidirum this release is about the beauty of chance. Samples that he has found from near & far over many years of producing finally find a home. 'Donde' in particular is a special track, he says "it is the track where I found my voice again. I have not used it in a song for almost 10 years." 'Ex-Plane' is heavily influenced by his love for Reggae, which runs throughout the whole track. 'Total Interior' is a perfect dance-floor ready track - with the help of multi-instrumentalist Pedro Alvide, the track builds a musical progression that dives into perfect sunset vibes with uplifting energy - ready for a peak time festival set.

After a number of other releases, 'Iris' is an EP where Sidirum feels that he has finally found himself again musically. In a way it's a summary of the places he’s been in the past, intertwined with his ideas in the present, making for a truly unique & pleasant listening experience.

Nick The Record - This is ruddy bloody gorgeous!!!!!!!!!!!!!!! Only problem is choosing a favourite tune

Dom Servini - Gorgeous White Island moments on here! Beautiful.

GK Machine - Nice reggae vibes on Ex-Plane...Total Interior and Donde up my street too

Bill Brewster - V nice esp. total interior

Paul Cottam - In my head now

Jaye Ward - wow!! what a release! super deep very left of the field. deep AF brilliant thing indeed

Oscar Arroyo - Nice one.

Thomas Jackson - I like Donde!

First appearing on TV screens in September 1968, Joe 90 was a unique nine year old boy with the ability to absorb the brain patterns of top experts

enabling him to become the most special agent of W.I.N. (World Intelligence Network).

Whilst there are arguably better-known scores amongst Barry Gray's sublime catalogue of work with the Andersons, the composer's work for Joe 90 is in many ways

the most consistent and inventive selection he ever wrote. Developing a theme for the new series was always the musician's starting point, and for Joe 90, the pop charts breezed into Gray's studio,

with an opening tune featuring a genuine groove. Mixing Gray's inventive electronics with 60s "surf rock" guitars was an inspired decision.

It is no wonder that this piece has gone on to enjoy a second life as a Northern Soul disco floor-filler.

For episodic incidentals, Gray was freed from the detached unearthly premise of Captain Scarlet and able to bring back a playful sensibility

and a more mature musical palette which are amply illustrated in this 24 track collection.

Factory Benelux presents a limited (500 copies only) orange vinyl edition of Retrofit, the seventh studio album from post-punk trailblazers Section 25, originally released in 2010. First time on vinyl.

Recorded before the untimely death of founder member Lawrence Cassidy in February 2010, Retrofit saw cult Factory Records group Section 25 revisit key tracks from their 1980s back catalogue, remade and remodelled for the 21 st century using an appropriate mix of new and old technology.

‘Gathered here is a selection of Section 25 faves, re-recorded and re-thought. The idea is born from their invigorating live set – compelling use of technology to lift them (almost) free from the familiar shards of 80s underground. Shockingly, this newattack works. All this tightening appears to have tugged the band into a sense of Now, gloriously at odds with the contemporary norm’ (The Quietus)

‘Audacious and innovative’ (Record Collector)

‘Section 25 might just be the best band in the world. Since 1980 they’ve been forging music that is as beautiful as it is challenging, from the monochrome psychedelia of their first album through Zen guitarscapes, electronic epiphanies, the arguable invention of Acid House, and on to an unexpected rebirth in 2006. Even within the narrative of such an unusual band, Retrofit is an odd confection: not a best-of or remix album, but a retrospective in which tracks are remodelled as gleaming technosculptures with the most human of hearts.’ (Glasgow Herald)

Now released on vinyl for the very first time, FBN 140 is limited to just 500 copies pressed on orange vinyl. The digital copy contains 5 bonus tracks, including a blistering re-boot of Looking From A Hilltop by Stephen Morris of Joy Division/New Order.

Hot on the heels of their highly acclaimed fifth album "Ask," the Turkish-psych band Altin Gün return with a two-song summer remix single. The two tracks feature the remixing talents of Altin Gün band members Jasper Verhulst (bass) and Chris Bruining (percussion). Both Verhulst and Bruining are always searching for new ways of (re) creating music and these remixes were one way to discover new paths in the music they fashion as part of Altin Gün. Kalk Gidelim is a cumbia driven remix, inspired by the cumbia villera of Argentina, while Su Siziyor is a digidub style remix with lots of King Tubby inspired reverbs and phasers. In the end this remix project is focused on fun. Something to help enhance the summer spirit.

Altin Gün: Merve Dasdemir - vocals, keyboards Erdinç Ecevit - vocals, saz, keyboards Jasper Verhulst - bass Thijs Elzinga - guitar Daniel Smienk - drums Chris Bruining - percussion

The concept of strict musical genre has arguably been dead for decades, and the latest offering from Danish powerhouses Gustaf Ljunggren and Emil de Waal once again reinforces this notion. Their third collaborative album "Stockholm Kobenhavn", a spacious, cinematic and boundaryless exploration of their shared musical connection is set to release on July 7th on April Records. Emil de Waal has been one of Denmark"s leading drummers for three decades. Gustaf Ljunggren initially studied the saxophone at the Rhythmic Conservatory of Copenhagen, where whispers spread throughout the school that he was the best saxophone player in town and yet never practiced. His career has seen him prove that he can bring grace, musicality and heart to any instrument he touches, from the pedal steel guitar, to the bass, piano, and more. In the words of Danish multi-instrumentalist Kresten Osgood, "Although an instrument may be new to him he is able to play it like he has had a lifetime of experience working with it. Over the years I think the only instrument I haven"t seen him play is the drums." "Stockholm Kobenhavn" has a vast array of influences including Jazz, Americana, Film Music and Electronica. It is full of space, coaxing the listener into a meditative state and inviting them to drift away with their own imagination. The record plays as a series of open-ended sketches or moods, absent of big defining melodies or familiar song-like structures. Each piece evolves over time, providing musical interest in the form of rhythmic ideas, rich harmony, texture, and repetitive melodic patterns from a guitar or rhodes. Imaginative electronic production techniques combine the warm sounds of acoustic instruments with a constantly developing palette of otherworldly textures and effects. Grounded by an unwavering pulse, the combination of programmed beats and acoustic drums provide the hypnotic foundation over which the pair explore and challenge their common musical ground. The album closes with an intimate recording from a performance at STUK in Belgium, with a comforting guitar-led Americana tune bringing the listener back into the room and sharing in the joy the duo have felt in playing together over the past twenty years.

Formed as The Age in the late 1960s in the gritty north London neighbourhoods of Wood Green and Tottenham, teen Glam band Hello signed to Bell Records after being auditioned at home by Argent’s lead singer Russ Ballard, the concept being that the band would be supplied with original material by former Zombies manager, David Blaylock, a sure-fire formula that gave them strong overseas followings. This essential compilation gathers the best of the singles they cut for Bell, as well as more obscure rarities, the resulting picture capturing the group in all their Glam Rock glory, from prime beginnings to bittersweet end.

Soulful rocking blues making waves all over.

When he first came on the scene, Phil Woods was often referred to as
"The New Bird," in a nod to the legendary Charlie Parker - A testament to
his genius on the saxophone to be sure
But while obviously indebted to Parker - as all modern jazz saxophonists of a
certain era were - there is no question that Phil Woods was an original. After
earning a degree in music from Juilliard in the early 1950's, Woods found himself
in the orbit of the great Quincy Jones. At Jones' invitation Woods joined Dizzy
Gillespie's infamous Jazz Ambassadors - a tour sponsored by the US State
Department as part of a global cultural diplomacy initiative - and subsequently
became a member of Jones' own touring band. This recording, his 9th album as a
band leader, consists entirely of Woods' five- part Rights of Swing Suite. An
ambitious large-scale composition based solidly on jazz traditions. A culmination
of the influences the then 30 year artist had absorbed. Arguably considered one
of Woods finest recordings, the record features a stellar section made up of
Wood's fellow Quincy Jones band members. (It should be noted that these same
musicians, for the most part, are also the section on Benny Bailey's Candid
Records recording, Big Brass, recorded a a few months prior in November of
1960). Recorded at the Nola Penthouse Studios in New Your City on two dates in
January and February of 1961, and conducted by Quincy Jones. The LP includes
extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and indepth commentary from Woods himself, giving a context and insight that adds to
the experience of hearing these extraordinary performances

Cult Argentinian darkwave act Euroshima’s Gala sees a vinyl reissue courtesy of Dark Entries. Euroshima was formed in 1986 by Fabián Iribarne, José Wyszogrod, Ricardo Parrabere, and vocalist Wanda. Originally released in 1987 on Polygram, Gala was a success throughout South America. But to the band’s dismay, they received minimal support from the record label, which meant the album would linger in obscurity outside of the region. A CD issue via Twilight Records surfaced in 2020, but this is the album’s first reissue on vinyl.
Gala’s legendary status among cognoscenti is warranted. The album’s nine tracks display all the hallmarks of the best darkwave: spiky guitars, analog synth basslines, and wailing vocals. But Euroshima make their mark on the genre with impeccable songcraft and a honed sense of the uncanny. While the band themselves rejected the label of “gothic”, it’s hard to resist busting out the black eyeliner when listening to gems like the uptempo “Como Los Otro” or the churning album-closer “Mejor Callarlo”. Highly recommended for fans of Xmal Deutschland, Lebanon Hanover, pummeling TR-707’s, and doom-laden synths.

This reissue is co-presented with Twilight Records, responsible for the 2020 CD reissue of Gala. It has been remastered by George Horn at Fantasy Studios. Also included is a double sided insert with lyrics and photos, as well as a postcard featuring a photo of the band.

Be With present the first ever reissue of the ultra rare double pack DJ promo of Malcolm McLaren & Bootzilla Orchestra's "Call A Wave". Originally slipping out in 1989 to a select few, there were rumoured to be only ever 300 copies pressed. Indeed, the entire package never got a proper release and now goes for a small fortune.

Say what? Bootsy Collins, Jeff Beck and Malcolm McLaren, all in one band, composing over a Barry White sample? And that's just the original. But you can forget about that for now. Here we have the incredibly sought-after "DFC Dance Mix", mixed by Massimino Lippoli of Morenas / Sueño Latino fame for the legendary DFC Italy. It's a throbbing, vital, dramatic slice of dreamy ambient house. A deep, entrancing track that's both blissful and dancefloor dynamite. It features the iconic, disaffected female vocal chopped up over elegant piano snatches, Beck's ace guitar stylings over rolling, heavy drums and a killer, hypnotic bassline with sparkling harp coming and going. It's exotic, otherworldly and brimming with that very special late 80s/early 90s Mediterranean vibe. Yes, it's Balearic, it's House. Above all else, it's a pure uncut slice of halcyon summer days, pressed on wax.

But on side B we also have the mesmeric "Breakdown Mix", again mixed by DFC Italy. For some, *this* is the mix to have - and who are we to argue? This time, the vocals are treated so they're uttered backwards, contributing to the wonderfully disorienting magic of this particular mix.

And how could we forget the equally iconic "Orbital Mix"? Not by the actual group Orbital, but courtesy of S'Express's Mark Moore & William Orbit, no less. A brilliant, beautiful remix that's perhaps more musical. They make more obvious use of the sample from the original Barry White track ("I'm Gonna Love You Just a Little More Baby") that Malcolm was inspired by. Flip over to Side D to find the duo's uber-horizontal "Return To The Deep Ambient Mix", a floaty, beatless gem that'll leave you swooning.

To round out this quite astonishing package, the "New Age Mix", again coming from the DFC Italy camp, elegantly sends us off into the cosmos with minimal percussion and maximum vibes.

Every mix on this DJ double pack is truly killer. Simon Francis remastered the original audio for this release and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 2x12" well and truly pumps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every summer. For the artwork, we've recreated the original DJ promo, a plain white gatefold sleeve complete with the iconic burnt orange hype sticker. Hold tight. Roof down, tops off.

There's something intangible about Celeste, the Soundcarriers’ second album, originally released in 2010. It has a light, lucid quality, almost like driving exhausted through a strange city at night. Freeflowing yet tethered, dreamy yet attacking, the band continue the fight to reconcile competing impulses. Various threads just about keep the shimmering tapestry from tearing. Haunting folk melodies underpinned by rhythmic static and the physicality of the totally analogue recording and mixing, baroque keyboard counterpoints and sweeping arrangements. The opener “Last Broadcast” seems to encapsulate this but it's almost as if the album gets the angst out of its system with this track and is free to explore the quieter, less crowded back streets. After the smoke of “Last Broadcast” has cleared, the twisting road takes in the soft introspection of “Hideaway” and “Morning Haze”, both tracks morphing into heavy psyche grooves or the eastern tinged psyche funk of “Signals” and “Rise And Fall”. Or takes another turn with the tightly arranged opening segment of “Long Highway”. Somehow it still manages to fit in ‘60s pop gems like “There Only Once”. An album to really lose yourself in, yet more concise than the sprawling Harmonium and more relaxed and freeflowing than the nervy rush of Entropicalia, Celeste could be arguably their most indispensable album and not to damn it with faint praise, their most listenable.

The Counts formed in Michigan in 1964 as the Fabulous Counts, releasing two singles, ‘Jan Jan’ and ‘Get Down People’ on the Moira label in 1968 and 1969 that became R&B chart hits. This led to the album “Jan Jan”, issued by Cotillion in 1969.

Snapped up by Westbound, the line-up that recorded “What’s Up Front That Counts” included Mose Davis (Organ), Leroy Emmanuel (guitar), Demetrius Cates (sax) and Andrew Gibson (drums). Although tenor player Jim White is on the front cover, he left the band shortly before the album was recorded. Extended, mostly instrumental tracks like ‘Why Not Start All Over Again’ and the title track are now recognized as some of the juiciest funk ever laid down in the studio. Shorter tracks like ‘Rhythm Changes’, ‘Thinking Single’ and ‘Bills’ are equally sweet. What gives the album such powerful musical chemistry was the fact that the Counts were jazz players weaned on the likes of Miles Davis who were also into the funk of James Brown and Sly & The Family Stone so every track features groove-driven interplay. One might argue this is the sound that Miles Davis was trying to find on his early 70s albums.

The Counts were to tour with Funkadelic and record more singles and albums but it is this 1971 offering that is, and remains, an all-time classic. Indeed, the track ‘What’s Up Front That Counts’ has been sampled by artists like Queen Latifah and Eric B & Rakim, keeping the music of the Counts firmly in the minds of a young contemporary audience.

Out of print on vinyl for nearly two decades, Ace is proud to reissue this beauty

First-ever vinyl repress of her classic 1982 fan-favourite album, third in a series of remastered vinyls of her 1980s albums, and part of Cherry Red’s on-going re-issue campaign of the star’s EMI catalogue in association with RT Industries.

Remastered from the original master tapes and pressed on green coloured vinyl with refreshed artwork including new inner sleeve.

Includes the singles ‘Machinery’, ‘Are You Man Enough’ and ‘I Wouldn’t Beg For Water’ as well as her original recording of ‘Wind Beneath My Wings.’

Sheena Easton rocketed to overnight fame in 1980 with the BBC broadcast of ‘The Big Time’ – arguably the first pop reality show – subsequently breaking records with her first two singles ‘Modern Girl’ and ‘9 To 5’ simultaneously hitting the UK Top Ten. Within a year, she had topped the US Hot 100 with the renamed ‘Morning Train (Nine To Five)’, recorded the Bond theme ‘For Your Eyes Only’, released two platinum-selling albums and become an international sensation.1982 proved another whirlwind year for Sheena – beginning with her ‘Best New Artist’ win at the Grammies, followed by first national US tour, the recording of her first TV special ‘Live At The Palace, Hollywood’ and capped with the release of her third album
– the aptly-titled ‘Madness, Money and Music’. Produced by Christopher Neil, the album ranged from the hyperkinetic new wave-infused ‘Machinery’ via the smooth west coast yacht rock of ‘There When I Needed You’ to classic, Streisand-style balladry on the top 20 AC hit ‘I Wouldn’t Beg For Water.’ It also included one of the earliest recordings of the classic ‘Wind Beneath My Wings’.

Tricatel is proud to release for the first time on vinyl the reissue of this album released in 2001. It is a single vinyl with a printed sub-sleeve containing vintage studio photos.


Inspired by Barthes, who wrote that the resistance would probably be one day in the affirmation of happiness, I wanted to write a happy record, so happy that it would be a provocation.

So I wanted to sing about love in the naive and poetic language that Portuguese is for me. It is the language of secrecy and modesty, of sensuality and eroticism.


So we recorded Azul in the offices/studios of Tricatel in four days. With the Recyclers (Steve Arguëlles, Benoit Delbecq, Christophe Minck), we created these versions on the spot and on ADAT tape for a budget of thirty thousand francs. It is, until now, my album which travelled the most, and which found the most aficionados.
This reissue for the first time on vinyl, almost 23 years later, fills me with joy.

»A Magnetic Road to Hell« is Robert Millis and Bardo Todol’s first release as a duo. Recorded transcontinentally throughout 2021 and 2022 they traded sounds and ideas between Cordoba, Argentina and Seattle, USA with a stop in Mexico along the way: screamings, rivers, kids, radios, mellotron, records, 78rpm shellac, wax cylinders, field recordings, birds, electronics, guitars, percussion, haze, static, a destroyed Indian piano, talkative violins, talkative people from the 1920s, talkative black and white dreams, tin cans from the streets, Argentinian children's tales about cows being teachers, and more. You’re riding on an unspooling reel of tape, through sounds real and imagined, the tape flapping dangerously, shredding; we are all of us magnetized, attracting together, pushing apart, unwinding onto the floor, stumbling along the road to hell.

Robert Millis and Bardo Todol have each released music on many different labels: Sublime Frequencies, Dinzu Artefacts, The Helen Scardale Agency, Discrepant, Abduction Records, Dust-to-Digital, Fire Breathing Turtle, Sub Pop, and Ikuisuus.

Finland's DJ Lifegoals, Forehard and Larry Neverheard debut on Cold Blow with a braindance-flavoured split four-tracker, aptly titled Braindancing. Arguably one of the most interesting, yet humblest, labels out there, Cold Blow is at it again with a candidate for a release of the year!

The two tracks from Helsinki's clubland stalwart, DJ Lifegoals, take the baton from Braindance's golden era and make it his own while paying homage to the tradition. Distorted, yet emotional, catchy yet challenging. On the flipside Inceptum founder Forehard (aka Ruusuvuori) partners up with the enigmatic Larry Neverheard for a mystifying, intricate, but (brain)dancefloor-ready double bill. Use your brain, don't sleep!

Indonesian City Sound: Panbers’ Psychedelic Rock and Funk 1971-1974

The Pandjaitan Brothers or Panbers came from the North Sumatra minority Christian group, the Bataks, whose ancestry traces back to an island at the center of Lake Toba. As a minority group within Indonesia's Muslim-dominated society, this ethnic minority has produced top military generals, celebrity lawyers, and a legion of pop and rock superstars.

Suffice to say, some of the biggest names in the country's pop history were Bataks. Panbers fit the bill perfectly.

The band's strong Christianity belief looms heavily in the music they produce. The prominent use of the Hammond organ in their early materials is evocative of church music the band members have been around in their whole life. Bandleader Benny Pandjaitan's fills his characteristic wail with existential dread, with many utterances of the word "mengapa" (why).

Guilt is another central theme Pandjaitan repeatedly comes back to in his lyrics. But they balance it with joy, on songs such as "Come on You Dance" "Let's Dance Together" or "Haai" (a play on the word high), where references to recreational substances are plentiful.

Although they modeled themselves after the era's rock bands Beatles and fellow countrymen Koes Plus, Panbers had a unique aversion to the electric guitar. In "Jakarta City Sound," a fiery three-note guitar solo is laid so far down in the mix that they are barely audible. In "Haai" they modify the guitar to sound like a jungle instrument playing traditional North Sumatran music. In "Rock and the Sea," arguably their most well-known song globally, they decided to ditch electric guitar altogether and replace it with a sitar.

In the absence of an electric guitar, Panbers had to rely on Doan's inventive bass playing and Asido's drum works to do the heavy lifting - and boy, do they deliver (Their 1971 debut "Volume 1" saw plenty of drum breaks). In this compilation, listeners will hear recordings from Panbers' fertile four-year period - a time that produced in some of the grooviest and hardest-sounding psychedelic music in Indonesia's rock history.

For those uninitiated on the glory Panbers, consider this compilation an introduction to some of earliest and heaviest rock sound to come out of Indonesia.

From the trademark melancholy tone of Scandinavian Jazz, to cinematic synth textures and propulsive programmed drum machines, Danish quintet "Andorra" embodies the melting-pot spirit of jazz. Their sophomore album "Current", set to release March 23rd on April Records, brings a hard-hitting indie-rock-esque attitude to a sound which is bold, fresh, and full of twists. Jazz"s ability to evolve, grow, and remain relevant over the past century is arguably due to its capacity to transcend genre and classification. Andorra"s 2021 debut (conceived and recorded during covid) re-united five musicians who met at the Funen Music Conservatory in Denmark and work in a range of areas, from film music and orchestral, to large ensembles and chamber jazz. With their long-held desire to explore their creative potential together finally launched, "Currents" shows them diving deeper into their self described "modern vintage" sound. Distorted guitar riffs, modern effects processing, warm soaring trumpet melodies and deep grooves carry the listener through an exciting journey that pays homage to their roots whilst pushing confidently into the future. With a focus on lyrical melodies, the record features intricate compositions, open passages of ethereal texture, and virtuosic, interactive improvisations from all corners of the ensemble. Each member of the quintet is a highly active member of Denmark"s vibrant music scene; Mads La Cour is an award-winning horn player who runs his own band Almugi and plays in the DR Big Band; Morten Jorgensen plays with The White Album and Soren Huss; Nikolaj Bundvig has played for Alex Canasta and Blue Foundation; Simon Krebs has recorded with the likes of Tomasz Dabrowski; and Peter Kohlmetz Moller"s diverse back catalogue includes compositions for Den-mark Radio"s documentary department, and multiple theatre productions.

Crackazat & Heist present: “Senses”. A stunning mini album that sees the artist deliver a heartwarming perspective on contemporary electronic music
On “Senses”, we see the pure talent of Crackazat come to life like never before. We’ve all danced to “Alfa” or his most recent hit on Heist “Demucha” and have heard his venture into the more poppy side of things with his 2022 album ‘Evergreen’ on Freerange. “Senses” however, is on another level. Crackazat takes you on a sonic journey exploring his musical personality with live keys, vocals, bass and production all coming from his studio in Uppsala, Sweden. The
jazzy horns that are featured throughout are recorded by Adeev and Ezra Potash, better known as the Potash twins. The duo took a sidestep from their recordings with John Legend, Robert Glasper and even Diplo to dive into this project with Crackazat and help him deliver arguably his best work to date.
The 6-track album starts off with the low-slung groove of ‘I need to know’. The whole atmosphere is warm, dreamy and seems to be written to lift your spirits, no matter where you are in life. Plucked strings, arpeggios and long horn notes give this song its energy, which is subtly supported by lo-fi drums and sparse bass licks.
“Do you think about me”, keeps the energy tight with a lovely drum groove and a sparse bass section. From the first note of the track, you get the feeling like the energy could change any moment. Halfway through this is exactly what happens, when uplifting keys and a buzzing lead take control of the track. The string arrangement is subtle enough to never overshadow the other instrumentation, but simply adds a beautiful layer to a track that’s already filled with
emotion. It’s all smiles when the energy of this track is set loose!
If “Do you think about me” is Crackazat in pop mode, “Freddie’s Groove” is Crackazat in full-on jazz mode. The nod to Freddie Hubbard is clear, and Crackazat cleverly takes ideas from both the jazz legend and his legendary French sampler, Pepe Bradock for this track. The horns are deep and moody, the groove is jazz-house at its best and Crackazat’s soft vocals have the perfect amount of fragility to fit the groove. The changeover into a stabby synth section
halfway through the track is a subtle reminder from the skilled producer that – even with all these musical elements – he can direct you to the front of the dancefloor with the twist of a note.
“Phantom” sees Crackazat move into a shuffling Latin-dance vibe. Here, the song reaches its full potential through the horn section, so it’s only fitting that this is the feature track for the Potash Twins. The Latin rhythms are lush, the key progression is on point and the energy on this track just keeps on going with layers and layers of horns, powerful vocal chops, and subtle but effective percussion changeovers.
“Endless life” is a track that feels like it’s building up momentum with every repetition. Whether it’s the broken beat groove, the offbeat keys or the sparse horn hits, chord hits or leads, there’s a certain energy in this track that takes a hold of you and simply doesn’t let go.
The outro “When we last met” is built around vibey drunk keys and a downtempo hip-hop groove. There’s a hint of old school D’angelo in this track and you can clearly hear the artist feels at ease with the path he’s taking the listener on. It’s a perfect ending to a record that showcases the beautiful world that Crackazat has crafted through his compositions and one thing is for sure: This is an album we will all keep coming back to for a long time to come.
Yours Sincerely,
Maarten & Lars