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Colombia-based duo and Bogota scene-players Julian Sanza (who you may know as part of 2020 Soundsystem) and Lafrench Toast have decided to add their own spin to a stone cold classic pop tune. With this one they manage to flip the iconic 'Thriller' into a nu-disco world. The drums are funky, the synths are explosive and full of cosmic colour and plenty of the original motifs remain to ensure that crowds will appreciate the work done. 'We Shine So Bright' on the flip is another sunny sound with nice breezy pads and mid tempo drum funk. Two useful and playful cuts.

The New Eves are a Brighton quartet who have been labeled as one of the country's most spellbinding new bands. Nestled somewhere between primal rock'n'roll live performance and transcendent ritual, there's an unmistakable alchemy that happens when Violet Farrer (guitar, violin, vocals), Nina Winder-Lind (cello, guitar, vocals), Kate Mater (bass, vocals) and Ella Oona Russell (drums, flute, vocals) step onto a stage together. Now, they've distilled this visceral energy into their extraordinary debut album The New Eve Is Rising: a lighting rod of inspiration channelled by a quartet with the ability to create something greater than the sum of their parts. The New Eve Is Rising was written in Brighton and at an artistic residency at The Cornish Bank, co-produced by The New Eves and Jack Osbourne (Bingo Fury) and recorded at Rockfield Studios and Bristol's Cotham Parish Church.

Mainstays of the D.C. DIY scene, Pretty Bitter live up to their name. Masters of all kinds of dissonance, they juxtapose stories of haunting and heartbreak with dazzling pop-rock arrangements. Pretty Bitter makes music that gets the emo kids dancing. They’re unafraid to infuse their blistering breakdowns with hits of disco and synthpop—and that’s exactly what they’ve done on Pleaser, their sophomore album, co-produced by Evan Weiss (Into It. Over It., Pet Symmetry) and Simon Small (Strawberry Boy) and out July 25th, 2025 via cult favorite indie label Tiny Engines. Following a string of ethereal singles, their 2022 debut Hinges formally introduced Pretty Bitter and their dreampunk to a rapidly growing audience. Fearlessly led by Mel Bleker and sharing studio and touring members with D.C. punk all-stars Ekko Astral, Pretty Bitter has been embraced by DIY fans far and wide. On Pleaser, Pretty Bitter have amped up the drama of their lush arrangements—a match made in heaven for the emotional ferocity of Bleker’s lyricism. “If everything is out there, nothing’s embarrassing,” they sigh on “I Hope You Do,” expertly toeing the line between the personal and the universal over bright, bubbling synths. On the arresting closer “Outer Heaven,” Bleker sings “Time isn’t a lover in the way it likes to play / I’m getting older, every due I pay / Time isn’t a bandage in the way you always say / I won’t be abandoned by myself again this way.” Their observational, heart-on-sleeve songwriting is as effortless as their flittering between the jangly, dreamy inclinations of rock, pop, and folk. Pleaser is a triumph, an instantly lovable record that reveals just how bright Pretty Bitter’s future is.

They say the best thing for a new band to really find out who they are is to go out and play as much as possible. They see what works and what doesn’t with the crowd as well as watch their peers perform and can learn from the best. For the past 2 years, WORMWITCH, has done just that. Having toured North America with The Black Dahlia Murder, Numenorean and appeared at last year’s prestigious Psycho Las Vegas Festival with Danzig, Dimmu Borgir and many more, the Vancouver 3-piece took it all in and regrouped in the Fall of 2018 to start writing their new album. Heaven That Dwells Within is the follow up to 2016’s Decibel Magazine Year End charting, Strike Mortal Soil. The riffs are stronger, the overall feel the album darker and their love of black metal dimly shines through much more on their past release. The album was mixed and mastered by V. Santura (Triptykon, Schammasch), giving it that much of a gloomier touch. With a tour right out of the gate with Cloak and Uada followed by a European run, the future, though dark in music, can only be bright.

LTD BRIGHT GREEN VINYL W/ 4 PAGE INSERT** **JEWEL CASE CD W/ 12 PAGE BOOKLET** A gloriously off-kilter yet deeply personal record that mixes absurdist punk theatre with an unexpectedly tender dive into mental health, Catholic guilt, and the surreal poetry of everyday life. “It’s more personal than the previous ones,” frontman Pete explains, “but not in a heavy way – more like Mortimer & Whitehouse than The Bell Jar”, succinctly summing up the Dinner Ladies’ approach: taking the kitchen sink, giving it a saxophone solo, and letting it spill over with charm, wit, and a fair helping of existential unease. Parody and poignancy runs through every song. Tracks like ‘Is There Life in Rhyl?’ and ‘Holy Pictures’ explore personal trauma and social conditioning through an unmistakably British filter; Catholicism, childhood fear, seaside holidays, and haunted toilet trips included. For fans of: The Fall, The Kinks, John Cooper Clarke, X-Ray Spex, Madness, cabaret, collage, chaos, and joyfully honest punk.

For most members of the band it's the best album. But, tragically, the release of Operation Heavenly in 1996 was overshadowed by the sudden death of drummer Mathew Fletcher. The promotional tour was cancelled, the surviving members of the band went into emotional hibernation and no-one could bring themselves to celebrate these vibrant, upbeat songs. So, this release by Skep Wax Records, nearly thirty years on, is more like an album launch than a re-issue. Time has healed most wounds, and the songs on Operation Heavenly feel like they can finally emerge onto the stage, with Mathew's spirit very much alive: his effervescent witty drumming sounding as fresh now as it did then. These tracks are gleeful, melodic, sophisticated and knowing. The tough riot grrrl edge that Heavenly had developed a year before with seminal singles P.U.N.K. Girl and Atta Girl, has been blended with a deliberate quantity of Britpop styling. Heavenly were clearly listening to what was going on, liked the energy, but didn't necessarily feel the need to join in. Some of the tracks (eg Ben Sherman) are as jaunty as early Blur, but the lyrics, mocking a narcissistic boyfriend for his obsession with hair, clothes and his own erections, show that Heavenly didn't need or want to be part of the la - or even ladette - herd. Operation Heavenly was the band's first release on a label other than Sarah Records. Matt Haynes and Clare Wadd had brought that exceptional label to a deliberate and dramatic end. The liaison with US punk label K Records continued - as did the duets with Calvin Johnson: Pet Monkey is a moving duet between a growling Calvin Johnson and a sweet-voiced Cathy Rogers, as they dramatize another complex, maybe doomed relationship, with another self-centred boy finding himself frustrated by a girl who won't take any shit. But in the UK, Heavenly needed to find a new home - and Wiija Records were welcoming hosts, ushering the band into a brasher, less cloistered world: the production on this album is brighter than before, the artwork is colourful and upbeat. With tracks as catchy and as complete as Fat Lenny, Trophy Girlfriend and Space Manatee there was an expectation that Heavenly might finally emerge from the indiepop shadows and trouble the charts. And who knows if this might have happened. Mathew was lost before the album was released, and the band had no choice but to bring things to an end. This reissue also contains two tracks that appeared on the B side of the 7" single of Space Manatee. They are both cover versions, and along with Serge Gainsbourg's Nous Ne Sommes Pas Des Anges on the main album, these vivacious assaults on Art School by The Jam and You Tore Me Down by The Flamin' Groovies show that the band, briefly in its prime, could happily embrace any variant of pop music and make it something Heavenly.

I envision this music as emanating from a moon inhabited by otherworldly life forms and ecosystems; these sounds as evoking the moon’s topographies, beings, lunar rivers, and strands of light — as if this moon’s essence were itself sonic, vibrational matter.

Musically and acoustically, Strands Of Lunar Light departs from a set of tones corresponding to a confined harmonic series segment of a very low fundamental frequency: 5.15 hertz. Through twelve continuous sections, each employing various methods of activating openly tuned guitar strings, the music is sculpted from the twenty-four pitches corresponding to harmonics 24 through 47 of this fundamental frequency.

At times, the natural second (octave) harmonics of the open strings are activated and introduce a secondary, octave transposed version of the original harmonic series segment, doubling the fundamental frequency to 10.30 hertz, and thereby revealing a brighter vibrational realm.

As a consequence of the rational pitch relationships integral to harmonic series of tones, these two sub-audio fundamental frequencies (pitch wise existing two and three octaves below the E-string of a double bass, respectively) can be heard in the music as the frequencies of the interference patterns produced by the simultaneous sounding of any pair of adjacent tones in the respective sets of tones.

These interference patterns, of 5.15 or 10.30 hertz (depending on the octave of the tones produced), are perceived as even pulsations occurring with varying degrees of clarity over the course of the piece.

I imagine these fundamental frequencies and their related harmonic tones as the elemental components of a moon, and this music as offering a glimpse into its vast lunar-sonic existence.

Fredrik Rasten, August 2024

When you’re immersed into something you never actually realize if the essence will project as bright as the efforts, as deep as the process and as loud as the intentions. WOW, the Roma Est duo of China and Leo Non, have never had to create magic or delve into mystique along their meandering path, it’s just been a long solemn wait for what life throws at them and actually sticks. Cause and reaction, because the essence is quietly there when the clamour fades away. Their new album ‘Rosa di Luce’ is as pure as they come, a crystalline documentation of a new family, new meanings and new languages where the only rule is to gently adapt and just let things flow.

Welcoming Mina Wow, a tiny creature, into the fold was never going to be easy for a life lead on the road and for a band as radical as WOW where nothing is sugar-coated or constructed behind the scene, a different approach was desperately wanted, needed and searched. Almost total disarm, doing the small things, undress, get rid of the unnecessary feedback. That’s why ‘Rosa di Luce’ more than ever showcases WOW’s other-worldy spectral capability of creating songs that contain immense and minimal emotions, raw but welcoming, sincere but cutting and could play out to be a career defining album. Loosely recorded between their house in Rome and a campsite in Southern Puglia (where WOW organizes their yearly Shawala Festival) these songs are masqued my a minimalist entendre that leaves space for China’s stellar vocal delivery, a haunted range with frequencies to tickle a soul and pierce hearts, with Leo’s resolute guitar playing leading a timeless revolution.

The center-piece ‘Le Montagne E Noi’ is a perfect example of their stripped-back nakedness hiding complex arrangements (the beautiful sax played by Ryan Spring Dooley and celestial flutes by Alessandra Lazzarini) that sound effortless and imperative. Spiritual orchestrations that match our times and most importantly their new family and definition of space. Peaks that can always be reached, forests that need crossing (La Radura) in order to find a sound. There is no pretension or conceit to WOW’s style, it is entrancingly vibrant yet melancholy, taking notes from the most visceral strand of Italian traditional music, yet, still, walking down a trail that is very much their own. A planet where Branko Mataja and Alice Coltrane are backed by Emahoy Tsege Mariam Gebru and Mina on a perennial quest for the ethereal. Music to remember the essence, this is what we are, like the ocean. “

Bristol-based artist and DJ A.Wild presents his debut EP, ReportDeluxe, a striking collection of four hypnotic tech-house-not-tech-house tracks crafted with meticulous care, showcasing adventurous samples and a distinctive, slightly acidic atmosphere.
Known for exploring the deeper and more immersive aspects of dance music, A.Wild skillfully integrates an assortment of captivating sonic details that thrive both on and off the club dancefloor.
Out on vinyl and digital platforms on July 18, ReportDeluxe firmly establishes A.Wild’s as a true leader of the new school, his fresh and compelling approach to sound set to transport listeners into ever-so-fresh musical spaces.

After the remarkable success and acclaim that greeted her second album Carry Them With Us (tak:til / Glitterbeat, 2023), Scottish composer and small pipes player Brighde Chaimbeul returns with a magic(k)al third album, Sunwise, which sees her push forward experimentally but also immerse her music more deeply in tradition, folklore and mystery.

Chaimbeul has travelled in a short time from her roots as a teenage piping contest winner into a fearless, widescreen artistry. She appeared on avant-pop paragon Caroline Polachek's last album, has collaborated with Canadian composer/saxophonist Colin Stetson on her previous album (and this one also) and in the last couple of years has graced the stages of premier experimental festivals such as Big Ears (USA), Le Guess Who? (NL) and Supersonic (UK).

Sunwise is a revelatory album, steeped in landscape, ritual, minimalism and the eternal presence of the drone.

PARADE is an 8-piece group, predominantly from Brighton and now based in London. Its members - who are all involved in their own capacities in music, art, fashion, design and more - have been making music since they met at college in Brighton, flipping records and making beats in founding member Jago’s attic room. Since then the sound has evolved to incorporate live instrumentation alongside electronic elements. Though always collaborating in each other’s orbits, PARADE was fully formed when all members gravitated towards South-East London, scattering around in musically less mythologised areas across Nunhead, Forest Hill, Camberwell and Norwood.

Lightning Hit The Trees is the band's debut mixtape, and was entirely written, produced, engineered, and mixed in just two weeks. It was recorded in a shipping container in Forest Hill on basic, often broken, equipment with ideas often formed in the moment. As demonstrated by these two first singles, the mixtape pulls together a body of music that incorporates a wide range of ideas from a group of inventive, inspired new artists and comes together in a remarkably clear and unified vision. The mixtape is guided by uncanny valleys, cinematic tones, “hyper-real” mixing techniques, and by a light with no shadow. Influences include: Wim Wenders, Juergen Teller, Velvet Underground, Radio Dept., Scott Walker, Magliano, Soft Machine, This Heat, Pixies, John Cassavetes, Domenico Gnoli, Dadaists, Judy Garland, Cindy Lee, Arca, Bette Davis, Sun Ra.

SASSYHIYA want to take you somewhere. The journey starts in Kathy and Helen's flat in South London. Sit down, close your eyes, and immerse yourself... You are on your way to a musical rainforest a long way from Camberwell. Explore your new surroundings, and you will find beautiful pop blooms like Let's See What We Can Find, as bright and vibrant as The Sundays, thrusting their colourful faces up from the forest floor. You'll find tangles of sharp-edged guitar, as if Swiss she-punks Kleenex had been left to evolve here in the rich fertile soil (I Had A Thought). You'll find dark pools full of lyrical complexity, deceptively deep and immersive, with shimmering reflections of The Go-Betweens (Perennial). And you'll come across delicate love songs, creeping up the trunks and branches of the bass and drums, displaying their fragile beauty (Thank You And Goodbye). And what's that exotic striped animal prowling through the undergrowth? Actually, it's Crayon Potato, Sassyhiya's pet cat, the other resident of their flat in South London, taking up her role as the feline star of a lilting, singalong anthem written in her honour. That's what is so great about this album. You are somehow, simultaneously, exploring the most exotic forest in the world while also sitting in a flat in an ordinary, familiar English street with Sassyhiya and their cat. This album transports you without pretending the real world doesn't exist: it doesn't get all mystical on you (Take You Somewhere is as unlike Enya as anything you've heard). Sometimes you might be reminded of Girls At Our Best, and then Delta 5. You might even, on occasion, think of Echo and the Bunnymen. Sassyhiya (pronounced "Sassy Hiya") were formed when Helen and Kathy, real-life partners and co-songwriters, joined up with Pablo and Neil (drums and guitar). Helen had previously been in Boys Forever and Basic Plumbing, collaborating with much-missed Veronica Falls musician Patrick Doyle. She and Kathy then formed Barry, a stripped-down queercore outfit, with Bart McDonagh (The Male Gays) and Mark Amura (My Executive Dysfunction). Sassyhiya feels like a culmination of all these elements, hitting the sweet spot between post-punk and indie pop. They know their way around a melody but still keep it wonky, with influences ranging from the Breeders and Broadcast to Dolly Parton.

Limitiertes weißes Vinyl Eine exklusive Compilation des legendären britischen Indie-Labels él, das in den 1980er Jahren mit stilvollem Pop, kunstvollem Design und internationalem Einfluss begeisterte. Mit Künstlern wie Momus, Louis Philippe und The King of Luxembourg bietet The Rubens Room eine elegante Reise durch Kammerpop, Chanson und Filmscores - fernab vom Mainstream. Begleitend zum Buch Bright Young Things erscheint dieses Sammlerstück auf weißem Vinyl - ein Muss für Liebhaber anspruchsvoller Popkultur.

Funkyjaws Music kicks off a new series here with a focus on hefty disco jams. Bodgan RA is first up to flex his muscle with 'Taboo' which is full of bright synth lines and gorgeous vocal harmonies best to some lush guitar riffs. 'Buffalo' then brings some old-school energy with chopped-up beats and scratching that eventually unravel into a feel-good 80s disco sound. The joyous vibes flow on freely through 'La Battaglia' with its cosmic guitar leads, horns and raw claps then 'Detective' shuts down with the most steamy cut of the lot complete with brilliant funky undertones and expressive synth solos.

From the mind of Philadelphia legend Del Jones, the jazz-funk musician and social justice activist behind Positive Vibes and The Court Is Closed, comes a cult favorite finally getting its due. Originally released on CD in 1999, Dance of 'De Elder is a late-career epic where Jones' unmistakable vocals and undeniable funk deliver his signature blend of history, justice and Afrocentrism to reinforce his timeless command: 'DANCE // RESPECT YOURSELF.’

This 12-inch marks the track’s debut on wax and features five remixes for today’s dancefloors. Lil Dave lifts the song into an uptempo, deep and soulful house jam, Pheels flips the vocals over a heavy, psychedelic and percussive dub, Sweater adds bright, crescending synths that revive Jones’ chorus as a joyful decree, Universal Cave offer an extended, dubbed out, late night acid excursion, and Street Orchestra dials in a knocking MPC beat mix that could have fit right at home on the original release.

When we found a copy of the Dance Of ‘De Elder CD, the title track quickly became a Universal Cave crew anthem that we played every chance we got. Early doors, end of night, looped over party tracks, we couldn’t get enough of it and knew it had to get out to a wider audience. We hope this release helps get Jones’ music and message out to DJs and dancers worldwide.

Das anglo-australische Indiepop-Quartett Allo Darlin' meldet sich nach über zehn Jahren mit dem neuen Album ,Bright Nights" zurück. Es ist die Rückkehr ihrer intelligenten, schönen Popmusik mit Texten, in denen Erfahrung mitschwingt, und Melodien, die klingen, widerhallen und schweben. Da sie sich und die Musik, die sie zusammen gemacht haben, vermissten, kündigten Allo Darlin' an im Oktober 2023 ein paar Konzerte in UK zu spielen, und die Reaktion der Fans war überwältigend. Die Tickets waren innerhalb Minuten ausverkauft, und die Fans reisten aus der ganzen Welt an, so dass die Band ihr Konzert in London in einen doppelt so große Halle verlegen musste. Es schien, als hätten ihre Fans Allo Darlin' genauso vermisst wie sie sich selbst. In diesem Jahr war die Band außerdem Headliner einer exklusiven Deutschland-Show auf dem Cologne Pop Fest und antwortete auf die herzliche Einladung mit einem speziellen Song mit dem Titel "Cologne". Bright Nights folgt den emotionalen Gezeiten der vorangegangenen zehn Jahre: "Es ist ein Album, das von Herzen kommt und sich mit Themen wie Liebe, Geburt und Tod beschäftigt - "Dinge, über die wir mehr nachdenken als bei unserem ersten Album. Ich hoffe, dass das Album zeitlos und fröhlich klingt, aber auch nachdenklich und emotional", sagt Songschreiberin und Sängerin Elizabeth Morris Innset. Inspiriert von einer Mischung aus klassischem (Indie-Guitar) Pop, Folk und Country, knüpft Bright Nights dort an, wo Allo Darlin' mit dem We Come From The Same Place von 2014 aufgehört hat, und erinnert an den selbstbewussten und anspruchsvollen Sound ihres zweiten Albums Europe. "Wenn ich es höre, denke ich an die Wüste, aber ich kann das Meer sehen. Die süßen Klänge der hellen Sommernächte in der nördlichen Hemisphäre, aber auch das Bewusstsein, dass der Winter eines Tages zurückkehren wird". Die Aufnahmen auf dem Album sind Live-Aufnahmen, die nach Meinung der Band die beste Art war, diese neuen Songs aufzunehmen. Allo Darlin' bringen uns an einen Ort, an dem wir uns geliebt fühlen. In einer wechselhaften Welt ist die warme Umarmung ihres neuen Albums ebenso notwendig wie willkommen. "Breezy rom-pop brilliance." 8/10, NME - "Classic indie pop... doesn't rewrite the formula for wistful bedsit charm as much as show that it can still be carried out masterfully." Pitchfork - "A masterclass of modern cult pop." The Guardian - "Terrific, witty and heartfelt, like a less moody Belle & Sebastian." The New York Times

Das anglo-australische Indiepop-Quartett Allo Darlin' meldet sich nach über zehn Jahren mit dem neuen Album ,Bright Nights" zurück. Es ist die Rückkehr ihrer intelligenten, schönen Popmusik mit Texten, in denen Erfahrung mitschwingt, und Melodien, die klingen, widerhallen und schweben. Da sie sich und die Musik, die sie zusammen gemacht haben, vermissten, kündigten Allo Darlin' an im Oktober 2023 ein paar Konzerte in UK zu spielen, und die Reaktion der Fans war überwältigend. Die Tickets waren innerhalb Minuten ausverkauft, und die Fans reisten aus der ganzen Welt an, so dass die Band ihr Konzert in London in einen doppelt so große Halle verlegen musste. Es schien, als hätten ihre Fans Allo Darlin' genauso vermisst wie sie sich selbst. In diesem Jahr war die Band außerdem Headliner einer exklusiven Deutschland-Show auf dem Cologne Pop Fest und antwortete auf die herzliche Einladung mit einem speziellen Song mit dem Titel "Cologne". Bright Nights folgt den emotionalen Gezeiten der vorangegangenen zehn Jahre: "Es ist ein Album, das von Herzen kommt und sich mit Themen wie Liebe, Geburt und Tod beschäftigt - "Dinge, über die wir mehr nachdenken als bei unserem ersten Album. Ich hoffe, dass das Album zeitlos und fröhlich klingt, aber auch nachdenklich und emotional", sagt Songschreiberin und Sängerin Elizabeth Morris Innset. Inspiriert von einer Mischung aus klassischem (Indie-Guitar) Pop, Folk und Country, knüpft Bright Nights dort an, wo Allo Darlin' mit dem We Come From The Same Place von 2014 aufgehört hat, und erinnert an den selbstbewussten und anspruchsvollen Sound ihres zweiten Albums Europe. "Wenn ich es höre, denke ich an die Wüste, aber ich kann das Meer sehen. Die süßen Klänge der hellen Sommernächte in der nördlichen Hemisphäre, aber auch das Bewusstsein, dass der Winter eines Tages zurückkehren wird". Die Aufnahmen auf dem Album sind Live-Aufnahmen, die nach Meinung der Band die beste Art war, diese neuen Songs aufzunehmen. Allo Darlin' bringen uns an einen Ort, an dem wir uns geliebt fühlen. In einer wechselhaften Welt ist die warme Umarmung ihres neuen Albums ebenso notwendig wie willkommen. "Breezy rom-pop brilliance." 8/10, NME - "Classic indie pop... doesn't rewrite the formula for wistful bedsit charm as much as show that it can still be carried out masterfully." Pitchfork - "A masterclass of modern cult pop." The Guardian - "Terrific, witty and heartfelt, like a less moody Belle & Sebastian." The New York Times

Das Debütalbum von Leroi Conroy, das zu gleichen Teilen von der Sensibilität des goldenen Hip-Hop-Zeitalters und verlorenen Filmszenen aus den 60er und 70er Jahren geprägt ist, wiegt schwer und hat Jahre der Entwicklung hinter sich. Die ersten beiden Tracks des Albums wurden 2017 als 45er veröffentlicht und in den folgenden Jahren von DJ Premier, Raekwon, Ghostface Killah, Macklemore, Phantogram und vielen anderen gesampelt. Aber nach der Veröffentlichung verbrachte Terry Cole alias Leroi Conroy einen Großteil seiner Zeit damit, sein Indie-Soul-Label Colemine Records zu vergrößern und Platten für andere zu produzieren (Okonski, Parlor Greens, Wesley Bright, BlackMarket Brass, Kendra Morris, Rudy De Anda, Delvon Lamarr Organ Trio, Andrew Gabbard), anstatt seine eigenen zu machen. Jetzt, acht Jahre nachdem viele der Rhythmustracks auf dem bewährten Tascam 388 aufgenommen wurden, erscheint Leroi Conroys Debüt-LP, "A Tiger's Tale". Das Album ist als hypothetischer Soundtrack zu einer alternativen Erzählung von Rudyard Kiplings The Jungle Book konzipiert. Die Erzählung ist das Bestreben des Menschen, die Natur zu zähmen und sie seinem Willen zu unterwerfen... und die Antwort der Natur. Das Album ist eine Mischung aus triumphalen Instrumentalpartituren und absolut düsteren, dunklen und manchmal dissonanten Moodytracks. Das zugrundeliegende Element der Hip-Hop-Sample-Kultur ist durchweg offensichtlich, und es besteht kein Zweifel, dass viele dieser Tracks in den kommenden Jahren geflippt werden. Klanglich reiht sich die Platte nahtlos in die Reihe vieler anderer Colemine Instrumentalisten ein: dreckige Lo-Fi-Drums, schmetternde Bläser, Wah-Gitarre, Hammond-Orgel und jede Menge cineastische Einsprengsel wie Flöte, Nylongitarre und Vibraphon. Das Schlagzeug stammt von Coles langjährigem Mitarbeiter Rob Houk und ist das Rückgrat des Albums. Und mit einigen Beiträgen der Colemine-Künstler Kelly Finnigan und Jimmy James ist die Platte wirklich eine Familienangelegenheit. File Under: To Be Sampled.