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Alt-rap dissident Jam Baxter announces his newest solo venture, Fetch the Poison. Conceived during a state-wide alcohol ban in Mexico, the album is Baxter’s first to be composed in complete sobriety — though his hallucinatory style of storytelling and cast of monstrous characters make a welcome return. Lyrics on Fetch the Poison meld Baxter’s Latin American experience with visions of a grisly alternate dimension: sun, sea and glittering vistas are sullied by hollow-eyed addicts, shady bar tenders and duplicitous lovers. Amongst deft bars, the rapper includes a number of spoken word pieces that echo the prose in his now sold out book Off-Piste. The album also features Blah Records' Nah Eeto & Black Josh, as well as DJ Sammy B-Side and Jehst, alongside Brazil’s NOG, Black Alien and Xamã. Baxter reunites with frequent collaborator Chemo on production — now under the moniker Forest DLG — for much of the album, with appearances from Jack Danz, Dr Zygote, Wundrop (CMPMD) and Midlands' electronic stalwart Lenkemz. Despite its diverse credits, tracks are connected by icy, spaced-out electronics with beats twisted through tape distortion and anchored by chest- rattling bass. Baxter began writing the album in Mexico just before the pandemic began while holed up in the city of San Cristobal De Las Casas, Chiapas, as the world shut down. “All the streets were eerily empty and it was amazing. I had the city to myself,” he says. “Then suddenly there was a state- wide alcohol ban and I could no longer casually sip tequila as I went about my business. I didn’t really have a choice but to write” With no alcohol to fuel him, and San Cristobal largely silent, the rapper says he was surprised to find himself in a deeply creative — and prolific – state. “I took to it amazingly well, and I wrote this whole album in three months of clear-headed bliss in the same apartment. I would sit and write all day, and occasionally walk up a mountain when I got stuck ... or go and feed the stray dogs at the church on top of the hill. It was weirdly the most fun I’d had in years.” Fetch the Poison is Baxter’s seventh solo album.

Nosaj Thing meldet sich mit seinem fünften Album 'Continua' samt hochkarätigem Ensemble zurück. Nach privaten Schicksalsschlägen in den letzten 5 Jahren schaut Jason W. Chung mit gleichgesinnten Künstlern aus Hip-Hop, Jazz, Soul und Avantgarde (u.a. HYUKOH, Toro y Moi, Kazu Makino (Blonde Redhead), serpentwithfeet, Malone und Panda Bear) nach vorne und legt eine Platte vor, die ermutigt, weiterzugehen. Nosaj Things Expertise in der Erzeugung einzigartiger, stimmungsgvoller Klanglandschaften führte ihn quer durch seine Heimatstadt L.A.: von Noise/Punk-Shows im DIY-Treffpunkt The Smell über DJ-Sets im Low End Theory bis zu Gigs mit Toro y Moi, The xx und The Weeknd. Seine 16-jährige Diskografie macht ihn zu einem Kultkünstler, der mit dem neuen Album nun alle Erwartungen an ihn als Komponist, Produzent und Arrangeur übertrifft.

Wie alle drei vorherigen Alben der Band beruht auch dieses auf der konzeptionellen, ideellen und künstlerischen Verbindung zwischen der Musik von FESTLAND und der bildenden Kunst des Malers, Zeichners und Texters Fabian Weinecke, der im Jahr 2012 verstorben ist. Das Trio (DDFM, Thomas Geier, Yoshino) vertont die lyrischen Texte Weineckes in eigenen Kompositionen und nutzt seine Bilder und Zeichnungen zur Covergestaltung. Er ist somit als assoziiertes, viertes Mitglied der Band zu verstehen. "Hippies" wird als Doppelalbum (12"/Vinyl) erscheinen. Es wurde im Parka Sound Studio in Berlin Kreuzberg eingespielt und dort von Berend Intelmann (Paula, Jens Friebe) abgemischt. Norman Nitzsche (Whitest Boy Alive) besorgte das Mastering. Dem Album werden zwei Booklets mit Malerei und Zeichnungen aus den verschiedenen Schaffensphasen Fabian Weineckes beigelegt. Seit dessen Tod an den Folgen einer lebenslangen Mukoviszidose im Jahr 2012 spielen FESTLAND in reduzierter und elektroakustischer Instrumentierung. Zum musikalischen Kern gehört das repetitive und zahnradartig ineinandergreifende Spiel von Geige, Kontrabass und Schlagwerk. Im Zusammenhang mit den witzig-skurrilen, traurigen und poetischen Texten im mehr stimmigen zarten Gesang des Trios ist somit ein ganz eigensinniger musikalischer Kosmos entstanden. Die musikalische Referenz dafür bildet weniger ein klassisches als vielmehr ein popmusikalisches Repertoire, das in der elektronischen Musik von House, Techno und Dub zu verorten ist. Der Journalist Jens Uthoff schrieb in der taz über das dritte Album treffend, es klänge so, als "habe man Kraftwerk die Synthesizer weggenommen". Der Radiomoderator und DJ Klaus Fiehe (1 Live Fiehe, ByteFM) sprach von "Math-Folk".FESTLAND knüpfen konzeptuell nicht nur an elektronische Musik oder Krautrock der 1970er sondern auch an eine Phase avantgardistischer Popmusik und Malerei der 1980er Jahre an (etwa "Neue Wilde"), in denen Künstler*innen in beiden Welten von Musik und bildender Kunst gleichermaßen zu Hause gewesen sind.

Red Vinyl

Ghost In The Machine make their long awaited return to Perc Trax with their first full release for the label since their debut album 'Breaking The Seal' was unleashed at the start of 2020. Since then they've released multiple EPs on their own Genosha Basic label, remixed Marc Acardipane, Dahryl and Torque and given their remix of Paula Temple the vinyl release it always deserved. As DJs they have toured Europe and South America, tearing down dance floors with their powerful kick driven sound. From small intimate clubs to huge festival stages their depth of musical knowledge and razor sharp mixing have made them the highlight of any line-up.

For this first Perc Trax release of 2023 Ghost In The Machine take their sound and production to the next level. EP opener 'Come One' is a tour de force of giant kick drums, distorted breakbeats and the kind of drops most techno acts can only dream of. 'Ensnared' takes a more groove based approach with rolling snares over a classic Ghost In The Machine kick assault. Lastly 'Break' gives us a chance to breathe (at least in comparison to the first two tracks) with droning tones layered over an assortment of classic drum breaks brought up to date by Ghost In The Machine's untouchable production skills.

THE CARSTAIRS, Cleveland Horne and Ray Evens, from Detroit, were first known to the UK soul scene for their storming cover of Motown’s “He Who Picks A Rose”, originally by Jimmy Ruffin and Edwin Starr. But, it is their legendary 1973 recording, “It Really Hurts Me Girl” that elevated them into the Northern Soul Hall of Fame. DJ Ian Levine first chanced-upon the song while on a trip to Miami and it is thanks to his foresight and determination that the Northern Soul scene embraced the new contemporary sound of Seventies soul and would consequently change forever. OUTTA SIGHT proudly present the original 1973 Gene Redd Jr. production coupled with the Tom Moulton remix.

Scene Unseen return with their second release, following the debut release from Jinjé and this time we see a release from a pioneer in the Chilean electronic music and Hip-Hop scenes, DJ Raff.

Having released more recently on the label Big in Japan (the previous label from the Scene Unseen camp), with his beautiful Resistancia EP, the label were keen to welcome him back onboard for the new project.

Raff’s routes were originally in the Hip-Hop scene back in his native, Chile. His influence of this scene cannot be understated, as his name appeared in the credits of over 50 Hip-Hop releases coming out of the country. Most notably with Anna Tijoux and Makiza, as well as seeing his own track ‘Latino & Proud’ used in the EA Sports game, FIFA 2012 and then later as the theme music for the Comedy Central show, Broad City.

As time moved on, so did Raff’s sound and he started to move into more of an instrumental focus, moving away from any vocals and the Hip-Hop rhythms. Since then he has released on Mutante Discos, Nacional Records, Wonderwheel Recordings and his own Pirotecnia label, among others. As well as remixing for the mighty Dengue Dengue Dengue, Landikhan and more.

DJ Raff has played events like Sonar Barcelona, Mutek.ES, Lollapalooza (US, Argentina, Chile), RBMA Mexico and Red Bull also invited him to mentor at the 2015 RBMA Bass Camp academy in Chile. His last album 'Movimiento' was released in 2017 on Nacional records and earnt him a nomination for best electronic music artist at the Pulsar awards in Chile.

Raff’s new EP for Scene Unseen, Estado Líquido, is an EP of true beauty once again, showcasing four tracks that combine his signature Latin American vibes with his hip-hop influences.

The title track opens the EP with the calm samples and inspiration from the sound of the ocean, an emotive nod to the people attempting to travel from Africa to Europe over the years and the struggles they have faced.

“Basta” translates to “Enough” in Spanish, this track is inspired by the large-scale protests in Chile back in 2019 and lasting until March 2020. An electronic hip-hop beat alongside a constant synth arpeggio that was something more common to his early productions. Casualidad is a reference to a more personal stage of Raff’s life, with soft, bright, and uplifting melodies flowing between more fine percussive works.

Final track, Ceremonia, combines percussive African rhythms with melancholic Synth leads and pads, alongside a deep solid bass line and repetitive chants. The repetitive chants and percussions hold together the opposite worlds of happy festive rhythms and nostalgic melodies, taking the song to a place where both feelings combine in harmony.

Artwork is made by DMNC (Francisco Meneses) a designer, art director and VJ from Santiago de Chile. Previous work is linked to 3D animation and he actively collaborates with various electronic music projects across Latin America.

Riviera Records presents XTC002: The Atlantic Connection with non-stop flights to X-Coast from Ireland, UK and USA.

The first route offers a very intuitive bass and breakbeat driven ride with a Tama Gucci signature, sensual vocals cutting through the airspace. The second journey is flying over (hard) house territory
with DJ Torture serving the snacks.

The B side we have a UK to X-Coast red eye flight with a trance edge courtesy of Capt. Ejeca. B2 is the only supersonic flight offered at this time navigated by Tommy Holohan: a shuffled up Reese bass powered techno from Ireland to X-Coast in just 4 minutes and 57 seconds - buckle up.

Attention: BPM changes at short notice!

Cypress Hill is widely respected and considered to be amongst the main progenitors of West Coast rap and Hip Hop in the early 1990s. With mega-hits like "Insane in the Brain", "I Wanna Get High" or "Tequila Sunrise" they crossed-over to mainstream breaking all records for a rap band up until that time. Cypress Hill were the first Latino-American hiphop group to have RIAA Certified platinum and multi-platinum albums. As musicians they became famous for the crazy sounds produced by DJ Muggs and Bobo and the stoner sympathetic lyrics of B-Real and Sen Dog. They redefined and shattered the boundaries of hip-hop, crafting gutter-dirty tracks that fused deep bass lines with blissful, stoned-out melodies and aggressive hard rock riffs, creating a unique imprint. This is an esential and powerful weapon for all the Hip Hop creators and djs.

Remixes by Moodymann, Potatohead People, Moodorama.

Kenny Dixon Jr. acuminates it deep and groovy, well, it’s his holy trademark sound. Potatohead People from Vancouver have been championed by Soulection, Nightmares on Wax, Questlove, Big Boi a.o. and have releases on Jellyfish Recordings, or NY label Bastard Jazz. The duo has worked with artists such as Moka Only, Kaytranada, Pomo, Phife Dawg a.o.

On top Moodorama’s remixes are trippy dubby jams. Moodorama have a long recording history, starting in the 90s on Stereo Deluxe, but even before that Martin Sennebogen was the DJ and co-producer of Knowtoryus, the legendary first hip hop outfit on Compost.

Inkswel & Colonel Red started out writing together more than decade ago & over the time have developed quite a unique sound when recording together,..a chemistry that blends music melody & lyric into every verse chorus & hook. So when Inkswel approached Colonel Red to create the 'Holders of the Sun' album, Redz response was to move his hectic schedule around & start immediately. Inkswel dropped the beats Colonel Red dropped the vocals & some fine musical tuning & 'Holders Of The Sun' Vol1 was born….while they promise a Vol. 2.
The fantastic artwork comes from Our Machine, Netherlands, who designed a lot of sleeves for Kindred Spirit, Tom Trago, Versatile, Build An Arc and m.o.

Colonel Red is a groundbreaking soul singer, musician, producer and performer, often referred to as one of the most powerful voices in the UK soul music community, a champion in equal parts of the original Broken Beat scene, as well as the UK soul scene. Working with and writing for the likes of Teddy Pendergrass, Amp Fiddler, Maurice White, Bugz In The Attic, Tony Allen and countless others. His track 'Belive In Me' was awarded the WORLDWIDE award from Gilles Peterson in 2014.
Colonel Red’s foray into the music industry began when Epic Record company giant Sylvia Rhone signed the then lead singer, Nikki Romillie, of Pride n’ Politix, to Atlantic Records. An accompanying publishing deal with Warner Bros. established the artiste, now known as Colonel Red, as one of the UK’s top cutting edge singer/songwriters.

Inkswel has been heralded as one of the busiest and most prolific beat based producers from Australia, a true master of his craft he has worked with the likes of Talib Kweli, Lee Scratch Perry, Andrew Ashong, Dwight Trible, Amp Fiddler and countless others as well as putting out timeless musical projects on labels such as BBE, Sonar Kollekiv, Rush Hour, Warner Music, Boogie Angst and others. He hovers evenly between Hip Hop and Club sensibilities, blending new age approaches with nostalgic leans. 'Holders of The Sun' is the audio melting pot of two musical aliens, future directive soul music drenched in the nostalgia of what once was.

Nosaj Thing meldet sich mit seinem fünften Album 'Continua' samt hochkarätigem Ensemble zurück. Nach privaten Schicksalsschlägen in den letzten 5 Jahren schaut Jason W. Chung mit gleichgesinnten Künstlern aus Hip-Hop, Jazz, Soul und Avantgarde (u.a. HYUKOH, Toro y Moi, Kazu Makino (Blonde Redhead), serpentwithfeet, Malone und Panda Bear) nach vorne und legt eine Platte vor, die ermutigt, weiterzugehen. Nosaj Things Expertise in der Erzeugung einzigartiger, stimmungsgvoller Klanglandschaften führte ihn quer durch seine Heimatstadt L.A.: von Noise/Punk-Shows im DIY-Treffpunkt The Smell über DJ-Sets im Low End Theory bis zu Gigs mit Toro y Moi, The xx und The Weeknd. Seine 16-jährige Diskografie macht ihn zu einem Kultkünstler, der mit dem neuen Album nun alle Erwartungen an ihn als Komponist, Produzent und Arrangeur übertrifft.

Meg Baird’s songs are rarely made up of tidy stories. In fact, for Meg, mystery itself is often the
medium. With ‘Furling’, Meg’s fourth album under her own name, she explores the breadth of
her musical fascinations and the environments around them - the edges of memory,
daydreams spanning years, loose ends, loss, divergent paths, and secret conversations under
stars. ‘Furling’ moves through these varied spaces with the slippery, misty cohesiveness of a
dream - guided by an ageless, stirring voice that remains singular and unmistakable.
Since co-founding the beguiling and beautiful Espers in the mid-aughts amid Philadelphia’s
fertile underground music community, Meg’s solo recordings have constituted just a fraction of
her work.
Her first solo LP, the disarmingly out-of-time ‘Dear Companion’ (2007), saw her carve a quiet,
sunlit space away from the flickering swirl of Espers. Since her last solo releases, ‘Seasons on
Earth’ (2011) and ‘Don’t Weigh Down the Light’ (2015), Meg has lent thunderous drumming,
lead vocal, and poetry to Heron Oblivion (Sub Pop) on an album that garnered praise from the
New York Times and made Mojo’s Top Ten Albums Of 2016 list. She collaborated with harpist
Mary Lattimore on the mesmerizingly hazy ‘Ghost Forests’ (2018). She’s played drums with
Philadelphia scuzz-punks Watery Love (In The Red, Richie Records) and explored her deep
familial folk roots in the Baird Sisters (Grapefruit Records). She also contributed her vocal
arrangements to albums from Sharon Van Etten, Kurt Vile, Will Oldham and Steve Gunn, and
toured with Angel Olson, Dinosaur Jr., Bill Callahan, Thurston Moore and Bert Jansch, among
others.
Yet ‘Furling’ is the album that most irreverently explores the span of her work and musical
touchstones. It showcases her natural tether to 1960s English folk traditions. But it also reveals
her deep love for soul balladry, the solitary musings of Flying Saucer Attack and Neil Young
shackled to his piano deep in the foggy pre-dawn, dubby Bristol atmospherics, the melancholy
memory collage of DJ Shadow’s ‘Endtroducing’, and the delicious, Saturday night promise of
St. Etienne.
‘Furling’ was primarily recorded at Louder Studios by Tim Green (Bikini Kill, Nation of Ulysses,
Melvins, Wooden Shjips). Additional piano and vocal recording were captured at Panoramic
Studios in Stinson Beach, CA with Jason Quever (Papercuts). It was mastered in Brooklyn by
Heba Kadry, who mixed Bjork’s ‘Utopia’ and mastered albums for Slowdive, Cass McCombs
and Beach House.
For all its adornments, ‘Furling’ remains deeply intimate. The entire album was performed by
Meg and her long-time collaborator, partner, and Heron Oblivion bandmate Charlie Saufley.
While her prior solo work hinted at more expansive horizons, ‘Furling’ explores the idea of Meg
Baird as a band much more freely. Venturing beyond the musical confines of fingerstyle guitar,
she plays drums, mellotron, organs, synths, and vibraphone over her piano and guitar
foundations. Her distinctive, simultaneously elegiac and uplifting vocals, meanwhile, connect
surreal dream montages, graft sunshine sonics to swooning mediations on romantic solidarity
in trying times, and weave odes to the simple gestures of friendship - and the loss of family and
friends.
This rich sound world makes the songs a varied bunch: ‘Twelve Saints’ mates Pacific sunset
ambience and Pink Floyd pastoral to a meditation on mortality and escape. The infectious and
kinetic ‘Will You Follow Me Home’ contemplates hope and longing through the looking glass of
a Jimmy Miller-era-Stones strut. And in the closing piece, ‘Wreathing Days’, language
disintegrates over tone clusters that feel somewhere between falling and flying.
‘Wreathing Days’ also reveals much about Meg’s mastery of contrast - situating the dear and
delicate adjacent to chaos. And while it’s true that some songs on ‘Furling’ grapple with
humanity’s existential unknowns in stark terms, they primarily revel in the mysteries that hide in
nature and humanity at their most ordinary. ‘Furling’ lives in the notion that whole universes of
experience, enlightenment, elation and ecstasy can bloom in these corners.

Red Vinyl

Die legendäre 'Rhythm Revolution' LP von Ferry Djimmy aufgenommen für die kommunistische Revolution in Benin gilt als ein einzigartiges Zeugnis des Afrobeat. Neben Anspielungen auf Henrix, Kuti und James Brown hat das musikalische Erbe von Ferry Djimmy etwas wirklich Einzigartiges. Die LP erscheint auf rotem Vinyl und erstmal in der gleichen Form wie bei ihrer Erstveröffentlichung.

Following the release of the limited edition gatefold edition last summer, Ferry Djimmy's obscure afro masterpiece 'Rhythm Revolution' sees its original-form reissue for the first time on 20 January. Number 2 among Rough Trade's 'Reissues of the Year' for 2022, this edition is pressed on red vinyl. The album was originally recorded in the mid-1970s in support of Benin's revolutionary leader Mathieu Kérékou. Rumour has it that less than two hundred copies survived a late-'70s fire. It is one of the toughest and deepest slices of African funk ever cut, combining raw African rhythms with distortion, energy and wit. In spite of obvious nods to James Brown, Fela Kuti, George Clinton and Jimi Hendrix, Ferry managed to create something very unique.

One of our all-time favourite artists and extended Circus Company member The Mole returns to the label for a proper presentation of his album The River Widens. Originally a limited, cassette-only release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle, midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets, from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with another limited edition cassette run - we hope you enjoy the ride as much as we do!

The boundless talent of Amir Alexander shines through on The 88 Keys. A three track conceptual EP that intertwines masters of classical composition and the extended Dj set, culminating in an encapsulating at home or in the club.

Israeli artist Moscoman returns to Damian Lazarus' Crosstown Rebels imprint with Adventura, featuring a collaboration with alternative and electroclash band Zoot Woman and a remix from Love Attack label bass Alan Dixon. Transmitting twinkling house to emotive indie dance, each artist leaves a stellar stamp on Moscoman's sinuous release.

As summer draws to a close, Moscoman looks forward to the next chapter in his trajectory, undeterred by the change of seasons. The title track opens with a muscular kickdrum and organic percussion before an enchanting melody glide between the beats, igniting a dreamy, tripped-out feel. It's made for an open-minded dancefloor. Moscoman collaborates with Zoot Woman on Reinvention feat. Zoot Woman, blending the airy vocals of Johnny Blake with a shimmering synthline. One for the indie heads. Alan Dixon's remix follows suit with a cosmic disco offering, reworking the stems with verve and serving a slice of strut energy.

Moscoman is a producer, DJ and label boss. He heads up the imprint Disco Halal, showcasing the sounds of house, nu-disco and post-punk supplied by artists from all walks of life. With an ear to merge traditional tones from different dance music cultures worldwide, Moscoman garners an explorative approach to Disco Halal. So far, the label's discography boasts tunes by Simple Symmetry, Red Axes, Trikk and Auntie Flo. His DJ sets slink into long, storytelling sessions of low-slung grooves and post-punk flavoured beats, as heard in Space Miami, Panorama Bar, Glastonbury and Pacha Ibiza, amongst other iconic spots. British act Zoot Woman consists of seminal producers Adam Blake, Johnny Blake and Stuart Price. Since the mid-90s, the group have produced and performed electronica, alternative, electroclash, rock and synthpop. Acclaimed for their scintillating live shows, the group remains one of the most remarkable bands from the UK. London-based Alan Dixon is a producer and DJ celebrated for his disco edits. Labels like Watergate, Life and Death, Keinemusik and Pets Recordings have released his tunes alongside his own imprint, Love Attack.

Griselda's Rick Hyde release's Plates 2 w/ features by Benny The Butcher, Conway the Machine, Westside Gunn and others With Griselda rhymer Benny The Butcher having what seems like an endless run of Ws, his BSF Records imprint appears to be getting more attention by the day. Rick Hyde is one of the top benefactors. His new project Plates II, a sequel to his independent mixtape Plates, positions Hyde as one to watch in the Griselda-wave 2.0. Sporting production from the likes of Daringer, Sha Money XL, Harry Fraud and the late DJ Shay (who the album commemorates by its release date falling on the anniversary of his death), as well as verses from Benny, Heem, Skyzoo and Westside Gunn, Hyde flexes his connections and curates a solid body of work.The project's shiniest gems include some of the singles that have already hit the net. "Hustler's Prayer" features Hyde and Heem interlocked in a battle to see who can drop the most street flexes, complemented by The SoulMonsters' grainy production. Another noteworthy cut is the DJ L-produced "Alone" featuring Benny and G Herbo -- which, aside from the DJ Shay-produced outro "Black Sinatra," is possibly the project's most replayable track.One thing that comes across crystal clear is Hyde's lyricism. He holds his own alongside a formidable tracklist of guests and shows a lot of diversity with his delivery. Look no further than the "Sarah Freestyle," where the subdued DJ Chopz and Skrilla loop provides an atmospheric backdrop to a relentless, two-minute onslaught.

PRODUCED BY GRAMMY® AWARD-WINNING ANDREW WATT

MUSICIANS ON EVERY LOSER: TAYLOR HAWKINS (FOO FIGHTERS), ANDREW WATT (GRAMMY® AWARD WINNING PRODUCER), DAVE NAVARRO (JANE’S ADDICTION), CHAD SMITH (RED HOT CHILI PEPPERS), TRAVIS BARKER (BLINK 182), STONE GOSSARD (PEARL JAM), JOSH KLINGHOFFER (RED HOT CHILI PEPPERS, PEARL JAM), CHRIS CHANEY (JANE’S ADDICTION), ERIC AVERY (JANE’S ADDICTION), DUFF MCKAGAN (GUNS N' ROSES)

ABOUT IGGY POP

Iggy Pop is a singer, songwriter, musician, author, record producer, DJ, and actor whose epic body of work has earned him both worldwide critical acclaim and fanatic cult success

Credited as “The Godfather of Punk”, spearheading the ‘70s punk and ‘90s grunge movements

PRODUCED BY GRAMMY® AWARD-WINNING ANDREW WATT

MUSICIANS ON EVERY LOSER: TAYLOR HAWKINS (FOO FIGHTERS), ANDREW WATT (GRAMMY® AWARD WINNING PRODUCER), DAVE NAVARRO (JANE’S ADDICTION), CHAD SMITH (RED HOT CHILI PEPPERS), TRAVIS BARKER (BLINK 182), STONE GOSSARD (PEARL JAM), JOSH KLINGHOFFER (RED HOT CHILI PEPPERS, PEARL JAM), CHRIS CHANEY (JANE’S ADDICTION), ERIC AVERY (JANE’S ADDICTION), DUFF MCKAGAN (GUNS N' ROSES)

ABOUT IGGY POP

Iggy Pop is a singer, songwriter, musician, author, record producer, DJ, and actor whose epic body of work has earned him both worldwide critical acclaim and fanatic cult success

Credited as “The Godfather of Punk”, spearheading the ‘70s punk and ‘90s grunge movements