Benét betrachtet sein neues Indie-Rock-Album „Make `Em Laugh“ als eine Art Clue-Spiel. Er versucht herauszufinden, wann und wie genau eine Beziehung gescheitert ist. „Make`Em Laugh“ ist ein Dokument der Entdeckung und Selbstverwirklichung, das eher Fragen als Antworten enthält und Benéts Fähigkeit, viele komplexe und widersprüchliche emotionale Zustände zu durchlaufen, prägt auch den Klang der Musik: Das Album ist dynamisch, lebendig und genreübergreifend. Seine warme Stimme glänzt in nachdenklichen Indie-Rock-Stücken wie „Pieces Of Me“ und „Demon“. In „Too Scared to Say“ setzt er Autotune ein, um ein Gefühl der Verwirrung zu vermitteln, ein Gefühl, das in dem experimentellen elektronischen Stück „Slimmer“ noch verstärkt wird. Benét und die Sängerin AnnonXL tauschen ihre Strophen aus, während sich die Produktion von kristallin und sanft zu aufregend laut und energiegeladen wandelt. Benét genoss auch die Zusammenarbeit mit den Künstlern, die auf dem Album vertreten sind. Er entdeckte die Musik von Margaux, als sie in dem Brooklyner Lokal Baby's All Right auftrat, in dem er arbeitet, und war begeistert, als er feststellte, dass die Fans in den YouTube-Kommentaren zu seinen Videos bereits eine Verbindung zu ihrer Arbeit hergestellt hatten. Faye Webster ist seine beste Freundin und jemand, von dem er glaubt, dass sie zu seiner Begabung passt, scharfsinnige Fragen über Beziehungen zu stellen. Und der wirbelnde, vibrierende Vers von AnnonXL auf „Slimmer“ war so gut, dass er Benét kreativ anspornte. „Make `Em Laugh“ mag damit begonnen haben, eine Trennung zu verarbeiten, aber als Gesamtwerk blickt es weit über die Besonderheiten einer einzelnen Beziehung hinaus. Es ist Musik, die sich über die großen Fragen des Lebens Gedanken macht, die uns alle verbinden, und die Trost in der Gemeinschaft findet. Wenn das Album ein Clue-Spiel ist, dann eines, das alle Einsichten und Geschichten der unzähligen Spieler im Raum ebenso einfängt, wie es sich auf das Ergebnis des Spiels selbst konzentriert.
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- A1: Harper Valley P.t.a.; Written-By – Tom T. Hall
- A2: Widow Jones; Written-By – Tom T. Hall
- A3: No Brass Band; Written-By – Lenny Groah, Lu Groah*, Steve Singleton (2)
- A4: Mr. Harper; Written-By – Tom T. Hall
- A5: Run Jeannie Run; Written-By – Clark Bentley, Jerri Clark
- A6: Shed Me No Tears; Written-By – Steve Singleton (2)
- B1: The Cotton Patch; Written-By – Margaret Lewis, Myra Smith
- B2: Sippin' Shirley Thompson; Written-By – Tom T. Hall
- B3: The Little Town Square; Written-By – Ben Peters
- B4: The Ballad Of Louise; Written-By – Naomi Martin
- B5: Satan Place; Written-By – Ben Peters, Clark Bentley
- A1: Mystical Plosives
- A2: Aerial Troubles
- A3: Melodie Is A Wound
- A4: Immortal Hands
- B1: Vermona F Transistor
- B2: Le Coeur Et La Force
- B3: Electrified Teenybop!
- C1: Transmuted Matter
- C2: Esemplastic Creeping Eruption
- C3: If You Remember I Forgot How To Dream Pt.1
- D1: Flashes From Everywhere
- D2: Colour Television
- D3: If You Remember I Forgot How To Dream Pt. 2
Black Vinyl[33,57 €]
"Instant Holograms On Metal Film" ist das erste Stereolab-Album seit 15 Jahren mit 13 neuen Studioaufnahmen. Eingespielt wurde das Werk von Laetitia Sadier, Tim Gane, Andy Ramsay, Joe Watson und Xavi Muñoz, mit Gastbeiträgen von Cooper Crain und Rob Frye von Bitchin Bajas, Ben LaMar Gay (Komponist/Jazz-Multiinstrumentalist), Holger Zapf (Cavern Of Anti Matter), Marie Merlet (Monade) und Molly Read, und weiteren. Die Band wird das ganze Jahr 2025 über live spielen - in Europa, Nordamerika, Südamerika und Großbritannien. Das neue Album folgt auf "Not Music" aus dem Jahr 2010, remasterte und erweiterte Neuauflagen von sieben ihrer Alben im Jahr 2019 sowie die Bände 4 und 5 der "Switched On"-Reihe, die 2021 bzw. 2022 erschienen.
Hollie Cook, one of reggae’s most exciting voices, makes a return to the label that released her cherished debut album in 2011. Landing back on Mr Bongo, 'Night Night' is a stand-alone aperitif and taster of what to expect from the next era in Hollie's musical journey
Revisiting her roots, this latest single embraces the trademark reggae / tropical pop sound Hollie found fame with on her first two albums. With a career that has gone from strength to strength since those formative days, the buoyance, charisma, and confidence gained in those subsequent years are on show for all to see.
Recorded at Crosstown Studios in London with the General Roots band and produced, mixed and dubbed by Ben McKone, ‘Night Night’ documents the longing of a lonely lover. Grounded in a sound system rattling bass line, strutting guitars and shimmering keys provide a sunshine-infused contrast. Hollie’s smooth sultry tones radiate throughout, backed by the legendary Horseman on toasting duties - a collaboration that hasn’t been heard since Hollie’s first album. Trading verses, the warmth of Hollie's velvety vocals balances Horseman's raw explosive energy in an absorbing harmony.
In true reggae style, the 7" single is backed with a classic dub mix, adding spacey reverb and delays, whilst giving Hollie and Horseman a more spacious streamlined flow in the mix.
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Limited edition white vinyl (800 copies) The self-styled ritualistic electro-mechanical ensemble OSMIUM is a veritable supergroup. Made up of Oscar-winning composer and instrumentalist Hildur Gudnadóttir, veteran engineer and producer James Ginzburg, Senyawa's idiosyncratic vocalist Rully Shabara and Grammy-winning sound designer / producer Sam Slater, while each member brings along a laundry list of accolades, the project is far greater than the sum of its parts. Alloying burnished electroacoustic soundscapes with dense, metallic drones, barbed rhythms and buckled, bio-mechanical vocalizations, OSMIUM's eagerly awaited debut album doesn't try to cast a rigid future. Rather, it tempers a viscous flow of unorthodox speculations that smolders through the distant past, blazing a trail all the way to the frontier of fate. Absorbed by questions about the relationship between humans and technology, tradition and progression, the individual and the group, OSMIUM channel their experience and expertise into a set of forward-thinking sonic interrogations that skewer established cultural preconceptions. And although genre is acknowledged - the album draws from folk, doom metal, 20th century minimalism, industrial music and extreme noise - there's never a sense that it's riveted firmly in place. Widely known for her soundtrack work (including `Joker' and `Chernobyl') Gudnadóttir plays the halldorophone, a unique cello-like electroacoustic instrument designed by Halldór Ulfarsson that allows the performer to harness unstable feedback loops. Taking his cues from this process, Slater (who has worked alongside Jóhann Jóhannsson, Ben Frost and others) generates rhythms using a self-oscillating drum he designed with KOMA Elektronik and Subtext boss and Emptyset member Ginzburg responds in kind, producing booming tambura-like sonorities from a device he developed himself based on the monocord, an ancient single- stringed resonator. OSMIUM synchronize the three unique instruments using a custom system of robotics to generate basic rhythms that underpin their improvisations and experiments, and Shabara's alien tones supply the band with their conceptual fulcrum. The vocalist is one of South Asia's most recognizable underground artists, and the sounds he's able to create using exhaustively rehearsed extended techniques are so distinctive that he's been studied by scientists back home in Indonesia. Never weighed down by needless sound design or modish ornamentation, it's music that feels authentically experimental; OSMIUM have figured out an awkward symmetry between their discrete approaches, concentrating their gaze on the outcome rather than the process. The result is a work of science fiction that's driven by interaction, conversation and sensation.
Fun Fun was an Italian Euro disco band produced by Dario Raimondi Cominesi and Alvaro Ugolini. The group was fronted by models, while the vocals were recorded by
original singers Antonella Pepe, Angela Parisi, and Ivana Spagna. Spagna left after the release of their first album in 1983.
Their breakthrough came with the hit “Happy Station (Scratch Remix),” by Ben Liebrand which climbed the charts in several European countries, including the Netherlands, Germany, and Belgium.
The track became a staple in the hottest discos of the era. The Greatest Fun compilation album brings together their biggest hits, including “Happy Station (Scratch Remix),”
“Give Me Your Love,” “Baila Bolero,” and “Living in Japan.” Additionally, the album features the Fun Fun “Mega Hit Mix,” a special mix by
Dutch producer and DJ Martin Boer of 2 Brothers on the 4th Floor fame, along with many more Euro disco tracks.
- A1: Return The Curse
- A2: Saviour Destroyer
- A3: Worm Vision
- B1: They Have Bodies
- B2: On A Hill
- B3: Inside The Horror Mask
With this, their fourth album Black Helium find themselves widening the parameters of their take on heavy psychedelic rock, with probably their most baked and hook-laden material to date.
From the no-safety-net freak out of ‘Return the Curse’, to the sawtooth groove of ‘Up on a Hill’, ‘The Animals Are Coming’ LP is Black Helium at their most exploratory and focused.
Recorded one sun-drenched week in late June 2024, this time at Axe and Trap Studios with Ben Turner (Hey Colossus, Part Chimp). ‘The Animals Are Coming’ is the band sweating it out in a room, fueled by “party foods “and vintage amps. Digging deeper towards the source, no matter how transcendent, no matter how dark.
Black Helium are a psychedelic power trio, based in London. Never afraid to stray from the beaten path, they traverse aural hallucinatory soundscapes; from detuned Neanderthal rock to deep oceans of introspective blissed out psychedelia.
The band consistently gig across the UK (including a two week tour with Japanese label mates Hibushibire late 2024), and have recently started ventures into mainland Europe. And plan to continue throughout 2025.
- 01: Zinzin
- 02: Béguin
- 03: La Lune &Amp; Le Soleil
- 04: Cha-Cha-Cha
- 05: Mauvaise Foi
- 06: Sexy Planet
- 07: Flash
- 08: Les Bijoux De La Reine
- 09: Deuil
- 10: Bluff
- 11: Intuition
- 12: Limites
- 13: Les Papillons
- 14: Quelle Osmose !
- 15: Bénédiction
- 16: Cour Des Miracles
- 17: Mon Chéri
- 18: Fairplay
- 19: Toi Mon Toit - Cover
- 20: N&Apos;Importe Quoi
- 21: Les Munchies
- 1: This Music
- 2: Endless Summer
- 3: Abe’s Flamenco (Ft. Franco Franco)
- 4: The Urban Solitude
- 5: E-System (Ft. Manonmars)
- 6: A Feeling
- 7: Close Ur Eyes (Ft. Birthmark)
- 8: Overdrive
- 9: Walking Home (Ft. D. Ham)
- 10: Sunday Morning
Love in the time of collectively assured techno-capitalist-nuclear holocaust! It’s the endless summer the Brits have been harping on about since they think they won the World Cup. The soundtrack is the debut album of the Content Provider; where Octatrack illbient and industrial chanson mesh in a singed postcard addressed to the UK Border Force and co-signed by aliens plucked from the petri dishes of Young Echo, Cold Light and Avon Terror Corps.
It’s a name she tried to keep anonymous, but Drowned By Locals and Bokeh Versions are breaking contract to reveal that the Content Provider is in fact the shock production alias of DALI DE SAINT PAUL. Patron saint of Bristol’s self-destructive improv idols EP/64 as well as post-feminist chamber collective Viridian Ensemble, avant-terror duo Harrga and constant collaborator with the likes of *breathe* Moor Mother, Valentina Magaletti, Mariam Rezaei, Vincent Moon, Maxwell Sterling, Ossia, Ben Vince.
And isn’t it such a strange release? And won’t people be surprised? Endless Summer is grubby and heartfelt, defiant and hopeful, with flecks of warped reggae on E-System nudging the freeform dream balladry of A Feeling and Sunday Morning, Kode9 & Spaceape-worthy dread poetry of Close Ur Eyes next to anthemic electro-crush of Overdrive. Even to those that know her well, and EVERYONE with their belly in the Bristol underground knows her, Endless Summer is a revelation. Perhaps the apex of the known Dali-verse……where her live gigs have boiled with an experimental volcanic vocal force, Endless Summer is twisted, syrupy, sultry, POP.
Far above the skylark sings And beats the air with joyful wings Till all the sky with music rings At high noon of the day With 2022's critically acclaimed album Ghosts, enigmatic Shropshire group HARESS markedout their own place in a growing landscape of artists navigating the world of the traditional and the rural in new ways. Ghosts led to the normally reclusive Haress venturing out from their base in the Shropshire Hills for live performances with the likes of Godspeed You! Black Emperor, Shovel Dance Collective, Big Brave, Steve Von Till and appearances at Supersonic and Krankenhaus Festivals - not to mention making fans of everyone from Kevin Martin to James Holden in the process. Skylarks is perhaps the natural conclusion of these past few years for the group. Whereas previous Haress recordings have embraced something of the unknown in the process of their making, Skylarks sees a well-travelled group of musicians carefully craft long and expressive pieces of music in a powerful and instinctual way. The music here might be long, but it never sprawls out of control. The telepathy present in live performance has been harnessed and used to carefully compose and arrange these four pieces, narrating a journey through landscape and time that is as powerful as it is beautiful. Inspired by found folk songs, the power of nature and the power of community and Ben Myers' brutal tale of resistance The Gallows Pole, Haress have created a genuinely epic soundtrack to a world both past and future, real and imagined. The ambience and atmosphere of the recording (expertly captured by Phil Booth of JT Soar Studio on location in the group's hometown of Bishop's Castle) is entirely natural, the sound of an ensemble playing live in the room around you. The only vocal interjection this time comes from a choir of voices, replicating the communal singing that has been the centrepiece of Haress live performances. When the voices emerge, it feels truly euphoric and heavy. Not heavy as in metal, but heavy as in the Earth itself - a primal, joyful gut punch to the system. "This blissed-out psychedelia is not quite pastoral – there’s nothing twee about these unwinding grooves – yet evokes water and wood, light and shadow, a place of forgotten labour and the absent human form with a beguiling grace" - Luke Turner on Ghosts, The Quietus Albums Of The Year 2022 "That timelessness of the old sounds but with an added tripped out modernity and dissonance hooked into the past by the power of drone is magical and exhilarating stuff – they are truly spellbinding – ancient and modern like British ragas or a damp searching for the soul of England take on the desert blues of a Tinariwen" - Jon Robb reviews Krankenhaus Festival 2023, Louder Than War
- 1: Timp X
- 2: G In Motion
- 3: ‘Howl & Freeze’
- 4: ‘Hunt’
- 5: ‘The Centre Of The Universe’
- 6: ‘Pulp’
- 7: ‘1 Minute 1 Life’
- 8: ‘France’
- 9: ‘Joy’
- 10: ‘ Two Weeks’
- 11: ‘How We Rise’
- 1: ‘Scars’
- 2: ‘Haunt’
- 3: ‘Slay’
- 4: ‘Present Danger’
- 5: ‘Mary Chopper’
- 6: ‘Release An Angel’
- 7: ‘Pig Mob’
- 8: ‘Butoh Baby 2’
- 9: ‘La Badinage Marias With Outside Sustain’
- 10: ‘Burning’
- 11: ‘Androgyny, Lie In Bed’
- 12: ‘Regicide’
- 13: ‘He Shall Ascend’
Preeminent cellist / composer Oliver Coates follows his scores for
‘Aftersun’ and ‘Foe’ with a stately string and electronic orchestration for Tudor and Stuart-era period drama ‘Mary & George’. Coate’s score draws on his roots in classical, electronic and club music to accompany an adaptation of the non-fiction book ‘The King’s Assassin’ by Benjamin Woolley, which outlines the romantic affair between King James VI and I and George Villiers, 1st Duke of Buckingham.
The score sees Coates reaching for a suitably lavish palette of strings, from symphonic to puckered chamber arrangements, sometimes underlined with Burial-esque beats and choral pads, as in ‘France’, or alloying the two in a way recalling Nicholas Britell’s ‘Succession’ soundtrack. There’s enough harpsichord to make the ruffed-necks swoon, and Coates takes the license to distort sounds to taste when necessary, resulting a clear highpoint in his work, both solo and for film
- A1: M Beat* With General Levy– Incredible 4:14
- A2: Barrington Levy & Beenie Man– Under Mi Sensi (X Project Remix), Remix – X Project
- A3: Ragga Twins*– Ragga Trip 4:34
- B1: Ninjaman, Bounty Killer, Beenie Man & Ninja Ford– Bad Boy Lick A New Shot (Jungle Bullet), Remix – Dj Monk (2)
- B2: The Source (4)– Rude Boy State Of Mind 4:50
- B3: Shut Up & Dance– No Doubt 4:40
- C1: Dj Massive– Final Conflict 4:23
- C2: Asher Senator– One Bible 5:00
- C3: Poison Chang– Press The Trigger (Half Breed Remix), Remix – Half Breed
- D1: The Ragga Twins– Illegal Gunshot 3:39
- D2: Ben Intellect– Oh Jungle, Featuring – Ragga G
- D3: Cutty Ranks– Limb By Limb (Dj Ss Remix), Remix – Dj Ss
- D4: The Ragga Twins– Tan So Back
- A1: Your Ghost; Vocals
- A2: Beestung
- A3: Teeth
- A4: Sundrops
- A5: Sparky
- A6: Houdini Blues; Written-By – Kristin Hersh, W J. Hersh*
- B7: A Loon
- B8: Velvet Days
- B9: Close Your Eyes
- B10: Me And My Charms
- B11: Tuesday Night
- C12: The Letter; Engineer – Steve Rizzo; Producer – Kristin Hersh, Steve Rizzo; Remix – Phill Brown
- C13: Lurch
- C14: Cuckoo; Arranged By – Kristin Hersh; Written-By – Traditional
- C15: Hips And Makers
- C16: Hysterical Bending; Engineer – Billy O'connell, Steve Rizzo; Mixed By – Steve Rizzo; Producer – Billy Mcconnell, Kristin Hersh
- C17: The Key
- C18: Uncle June And Aunt Kiyoti; Written-By – K Hersh*, W.j. Hersh*
- C19: When The Levee Breaks; Written-By – Page*, Bonham*, Jones*, Minnie*, Plant*
- D20: A Loon
- D21: Sundrops
- D22: Me And My Charms
- D23: Velvet Days
- D24: The Key
- A1: Diamond Smiles; Written-By – Bob Geldof
- A2: Second-Last Call; Backing Vocals – David Vandervelde; Written-By – Burch*, Bennett*
- A3: Twice A Year; Written-By – Burch*, Bennett*
- A4: Mirror Ball; Acoustic Guitar, Backing Vocals, Harmony Vocals – Sherry Rich; Bass Guitar, Slide Guitar – Rick Plant; Drums – Alex Moore (12); Engineer – Jay Bennett; Harmony Vocals – Pat Sansone; Tambourine – Glenn Kotche; Written-By – Bennett*, Rich*
- A5: Footprints
- A6: Hotel Song; Drums – David Vandervelde; Rhythm Guitar – Jason Sipe; Written-By – Bennett*, Rich*
- B1: Invitation
- B2: When Heaven Held The World
- B3: M Plates
- B4: Cartoon Physics
- B5: Beer
- C1: Another Town Another Ride Another Window 3
- C2: I Don't Have The Time
- C3: I'll Decorate My Love; Backing Vocals – Edward Burch
- C4: The Engines Are Idle
- C5: How Dull They Make The Razor
- D1: Without The Benefit Of Sight
- D2: Hank
- D3: Talk And Talk And Talk
- D4: Wicked World; Written-By – Daniel Johnston
- D5: Little Blue Pills
- A1: Scene 1: Welcome 2 Collegrove; Narrator – 50 Cent
- A2: G6
- A3: Big Diamonds; Featuring – 21 Savage
- A4: Presha
- A5: Long Story Short
- B1: Scene 2: Duffle Bag Boys; Narrator – 50 Cent
- B2: Millions From Now
- B3: Crazy Thick
- B4: Transparency; Featuring – Usher
- B5: Significant Other
- C1: Scene 3: Ladies Man; Narrator – 50 Cent
- C2: P.p.a.; Featuring – Fabolous
- C3: Oprah & Gayle; Featuring – Benny The Butcher*
- C4: Shame
- C5: Bars
- D1: Scene 4: No Fent; Narrator – 50 Cent
- D2: Godzilla; Featuring – Vory (2)
- D3: Crown Snatcher 2:36
- D4: Can’t Believe You; Featuring – Rick Ross
- D5: Scene 5: Never Was Lost; Narrator – 50 Cent
- D6: Moonlight; Featuring – Marsha Ambrosius
- A1: Premier Contact
- A2: Le Manège Des Vanités
- A3: Dead Hip Hop
- A4: Avec Les Larmes
- B1: Autour D’un Café
- B2: Ne Plus Y Croire
- B3: Toute La Vérité
- B4: Poussière D’enfants
- C1: Le Rendez-Vous Manqué
- C2: De L’amour À La Haine
- C3: Sous Le Signe Du V
- C4: Un Peu Seul
- D1: Baise Les Gens
- D2: Peut-Être Un Verre ?
- D3: Pas Stable
- D4: Depuis Que J’étais Enfant
- D5: Perspectives
- D6: Il Faut Qu’on Parle
A l’occasion des 20 ans de cet album devenu culte, Record Makers réédite une version spéciale anniversaire limitée (vinyles transparents – 500 exemplaires) qui ravivera la flamme des fans de la première heure, des nouveaux fans et des collectionneurs. "Vive la Vie" est aujourd’hui un album référent pour les amateurs de rap, reconnu par ses pairs lyricistes, c’est un de ses albums qui marquent à jamais une époque, celle des années 2000 et de son rap aux rimes fines et puissantes.
Le 15 novembre 2004 sortait "Vive la Vie" le premier album du Klub des Loosers.
On ne présente plus le Klub des Loosers et son unique membre Fuzati. Pourquoi ? parce qu'on en a un peu honte quand même. Imaginez un jeune versaillais que tout prédestinait à devenir écrivain maudit ou chanteur d'un groupe de pop répétant dans le garage parental le dimanche de 16h à 20h. Le genre de type qui passait ses samedis après-midi à la bibliothèque municipale, ses samedi soir à boire de la bière dans les squats de jeunes où on recense une fille pour dix mecs et où la phrase qui revient le plus souvent est "qui roule un joint ?"
Imaginez maintenant que ce type ait une illumination, au milieu de ces jeunes que tout prédestine à la réussite (HEC, science-po) et qui lorsqu'ils se retrouvent ensemble ne savent pas faire autre chose que de se défoncer. "Nous sommes un klub de loosers".
Comme il n'aime pas trop les gens, Fuzati fondera un klub dont il sera le seul membre. Comme il n'a pas de guitare que le hip hop est son seul ami il se dit qu'il fera ça comme musique. Bah oui c'est sympa le hip hop. Comme on lui a dit qu'il n'avait pas une tête de rappeur et que les casquettes à l'envers lui vont mal il ne montrera jamais son visage et portera un chapeau. S'en suivra un parcours classique de MC underground qui rappe pour la rue (mais aussi les avenues) et représente ses refrés illégalement enfermés derrière les murs des prépas t'as vu. Mixtapes, nombreux freestyles dans l'émission Greckfrite diffusée sur la chaine internet Canalweb, concert à la MJC de Versailles mais aussi dans un entrepôt désinfecté à Dunkerque.
En 2003 Il signe sur le label parisien Record Makers parce qu'on lui a appris qu'il ne fallait pas trop se mélanger avec les gens d'autres milieux. Sortiront deux EP, "Baise les Gens" et "La Femme de Fer" qui sont déjà des classiques pour au moins 32 personnes. La même année sort également l'album de l'atelier "Buffet des Anciens Elèves" auquel il participe avec Tékilatex du groupe TTC, James Delleck, Cyanure et deux producteurs de talent, Tacteel (Lex Records) et ParaOne (Institubes). En juillet 2004 sort le maxi du Klub des Loosers où collaborent MF DOOM, légende hip hop, et Jean-Benoit Dunckel, moitié du groupe AIR.
- A1: Intro
- A2: Amplified Sample
- A3: Beneath The Surface
- A4: Skit #1
- A5: Skit #2
- A6: Crash Your Crew
- B1: Breaker, Breaker
- B2: High Price, Small Reward
- B3: Hip Hop Fury
- C1: Skit #3
- C2 11: 12
- C3: Skit #4
- C4: Victim
- C5: Publicity
- D1: Feel Like An Enemy
- D2: Stringplay (Like This, Like That)
- D3: Mic Trippin
- D4: Outro




















