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"Catch me in the corner not speakin'/Crushed out heavenly/ U.G. rock the sweet daddy long fox minks/Chicken and broccoli, Wally's look stink"

Ghostface Killah released his debut solo album 25 years ago on October 29, 1996. Produced by fellow Wu-Tang Clan member RZA, Ironman found inspiration in sources ranging from blaxploitation films to classic soul and charted a whole new direction for hip-hop in the process. The album features classic bangers like Daytona 500 featuring Raekwon and Cappadonna to soulful emotionally moving cuts like All That I Got Is You with Mary J Blige. To commemorate the 25 year anniversary Get On Down is proud to present Ironman in a 2xLP set available on both ‘Blue & Cream’ and ‘Chicken & Broccoli’ half-n-half colored vinyl, each version housed in a deluxe gatefold jacket, packed inside a ‘shoebox’-style 2nd outer jacket embossed with the year 1996.

In this first release, four seafarers coming from across France set off for a unique music journey. Grotz with his deep tech-house and up-beat touch. Ionescu with his groovy minimal combining a jazzy flow with rhythmic breaks. Sunaas and his 90’s references with a mellow and acid punch. Sekance with his trance and electro beaming vibes. It is a melting pot of styles and sounds representing the label's core: a unique quest for sounds that the artists chose to share in every release. Through this first eclectic EP, the crew of 3 MÂTS invite us for a sea sprayed journey right in the heart of emerging house music.

Anchors aweigh!!

Another big-hitting, small format slice from the PINA Crew!

An the A side we have a deftly extended Funk workout that just won't quit.
Over on the B, we have a slinky house jam based around a nicely sliced Joe Coleman loop...

Simple, effective jams on limited edition 7"
Floor food for all moods...TIP !

Denver-based Seafoam (Brian Cavender) is by far the most prolific of the talented Cavender brothers, but he has remained elusive for his 2+ decades-long career in deep funk. After releasing a one-off 12-inch in 1999 on a small Denver label, Seafoam quickly found his way to the Guidance family by way of gatherings at Miami's Winter Music Conference. A string of three twelves on Guidance from 2000 to 2003 cemented his legacy early in his career, however, having never quite reached the same heights as some of the Guidance greats, Seafoam's output mysteriously declined around the time of the label's demise. New releases dried up until the formative reissue campaign of Paris-based Rue De Plaisance in 2017, which culminated in the essential Collected Works 1999-2005 double LP. The flood gates opened, and a whole new generation of diggers and labels turned to his sound. And Seafoam, seemingly untouched by the passage of time, hunkered down in the studio with a steady release schedule-a new lease on life for the occult deep house assassin.

repressed !

The original version of 'Angel' needs no further introduction as its
already been a big club smasher since released in mid March.
The remixes are now about to hit the clubs and of course we got
something special everyone. Ripperton is behind the haunting and techno driven remix which definitely up there with his best work to date and Hot Since 82 does his thing and delivers a phat driving tech house remix sure to pack the floors around the globe.
To round the package of singer/songwriter Hayze has given us his wonderfull deephouse interpretation of the song and this will go down well for the early hours we reckon.

Summertime sunshine, soaked up across two stunning tracks from Things You Say on Palm Recs. Bursting at the seams with festival energy the A side ‘Thank You Baby’ is a disco house belter, with that fist pumping feeling deep down in its soul.

On the B, ‘Play The Drums’ a hypnotic Italo disco flavoured foray into the depths. Space echoed vocals, punchy synth bass and a crisp beat will have the dancefloor in the palm of your hands.

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

repressed !

Debut 12" from the Brooklyn based INNERMOODS label founded by JAMES DUNCAN, known as the trumpet player for METRO AREA and currently playing horns for LUKE SOLOMON and HORSE MEAT DISCO. 2 stomping and moody house tracks made for basement sessions. Hand stamped 1-sided limited 12"s.

Kicking off proceedings on new label, Scene Unseen is Yorkshire’s finest, Jinjé a.k.a. Lee J Malcolm.

Scene Unseen will focus on exploring and showcasing scenes from around the world (some seen or some maybe unseen), as well as releasing music from artists who incorporate sounds from across the globe within a music style that's closer to home. This is where Jinjé steps in, delivering an EP of Afro-funk and Afro-tech. He draws upon his usual duties as a fine Techno, House and Electronica producer and combines them with rhythms inspired by African and Indian music, using instruments (played and recorded live by Jinjé) and field recordings from both regions.

Jinjé (Lee J Malcolm) has released on labels such as Messrs. Kicks & Drums, EPM Music, Mesh and Ostgut Ton. He was also a founding member and mainstay in the Leeds band, Vessels (Different Recordings), until leaving a couple of years ago to concentrate on solo projects.

The track names tell all, as Jinjé gives a clear nod to the Africanism is his music. First track, 'Ngoma' is a name used across Africa to describe certain drums and percussive instruments, which can be heard here, like Djembes from the Conga region, as well as live and acoustic components, blended with modular and other electronic sounds.

'Burkina Faso' takes us west and hits the ground running with a vocal sample of Tribal women from the area, singing praise and joy to engineers who have come to provide fresh water to the village: "Praise God for they have come to build us a well." The progression of the track is based around this joy and develops nicely alongside some intense bass and drums.

'Dusk' is inspired by thoughts of the Serengeti planes at night fall, all built around Jinjé's live M'bira plugged into a modular synth, grouped with live flute and field recordings from India which provide additional percussion.

'Ya Maji' is a collection of high energy rhythms from a Moroccan frame drum, congas, clapping, live bass, distorted marimba and the mighty Korg Ms20 playing the lead synth lines.

Last up is 'Jara', a nod to Steve Reich and his six marimbas, as well as drawing inspiration from Fela Kuti. Vocal samples bring in more of the field recordings Jinjé made in India, as well as the clapping elements. Acoustic and electronic sounds intertwine to great effect and sum up the EP as a whole.

Look out for more from Jinjé in this musical direction as he seeks to bring these tracks and future ones to a live band setup.

Four killer tracks of high grade electronic soul from James Baker AKA REKAB. A fantastic EP showing both breadth of style and respect for the roots and traditions of the music from this artist.The first, Locked on Dodge, is a driving deep Detroit techno track with a hypnotic arpeggiated lead and filtered atmospherics to lose yourself inside. Don’t get too comfortable though, it’s capped with a surprise electro switch in the breakdown to keep the floor on their toes! The second track, We Need to Care, delivers a cool clear synth sound design over Chicago influenced house tempo beats and lush pads. Simultaneously groovy and comforting, this is a track for those special moments. Jacking with your eyes closed and a big grin on your face.
Third we have a clear tribute to Drexciya with In Search of the Deep Sea Dweller. Tough 808 beats and laser zaps punch through a bed of evocative strings whilst a filtered single note loop rises and falls like the tide. An abstract robotic voice presides over the track, adding atmosphere whilst giving it a sense of mysterious machine driven intelligence.
Lastly, Too Much Time gets its space boogie on. Electro funk beats jump round staccato synth chords and a simple but effective Moog-like bass line. Once the scene is set, a writhing 303 joins the proceedings accompanied soaring pads and beautiful melodic leads that make you feel like you’re being lifted into the cosmos.
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ReKab aka James Baker from the UK started Djing in the early 90’s. Later on he started playing around with music. Finally the ReKab sound was established in 2019 with his first release on Where We Met records. Other releases followed soon on Móatún, Withhold, Intellitronic Bubble, We’re Going Deep and Fourier Transform.
His music is very deep and full of emotions and influenced by his love for Detroit.

Boogie Butt Records presents its new release: we are happy to find on this one our friend Will The Funkboss that we had presented on our previous compilation Boogie Slice Vol. 1. He comes back with an incredible dancefloor banger with two slices of Electro Funk coming in 7inch limited vinyl.
Willie The Funkboss is one of the French Rap producers we respect. From his beginning as a DJ in 1991 to his sparks in production at the end of the 90's, everything he touched was good.
He began his career as the resident DJ of the only French club dedicated to Soul and Hip-Hop and started to produce remixes and hip-hop instrumentals before leaving for NYC to perfect his productions and DJ's, before returning to Lyon.
Upon his return, he puts his discoveries to good use by founding Le Gang Du Lyonnais with his friend Raf, a group that specialized in producing French rappers and singers, collaborating with the best of French urban artists. In 2003, they went gold with the single of 113 (Mafia K'1 Fry) "Au Summum".
Today, Will The Funkboss produces Hip-Hop, Soul, Nu-Disco and House on quality labels (Plaizir Musik, Smokin Beats, …), still in the groove!
Just pop it!

"Prime Sequences" is the latest album by dj and electronic music producer GummiHz, real name Alexander Tsotsos. Alex has an ear for what he describes as elastic frequencies, thus gummi-hertz! In other words, low bass lines, airy synth phrases and shuffle rhythms, playfully arranged within loose forms. A philosophy that comes across throughout this long player. Elements fall in and out of order, time swings back and forth, all together in perfect harmony! Pushing the boundaries of what has become his signature sound, a fusion of house and techno all the way from Berlin to Detroit! This package features underground music coming straight from the heart, or the Hertz more appropriately! The story unfolds within no less than nine tracks showcasing Alex's versatility in making waves!

The opening track titled "Berlinopolis" is a sonic portrait of the city of Berlin, where Alex lives since more than a decade. A smooth soundscape produced by combining abstract melodies with field recordings of the city's ambience. "'Second Wave" follows airy jazz chords and drum parts to launch the listener into trajectory. It feels like the sort of track that would probably make it into Herbie Hancock's deep house collection! The title track "Prime sequence" is a Detroit brewed piece with some Berlin minimalism rawness in the rhythm section! Combining a mixture of drama, suspense and shaking drums to dominate the dance floor. Next up comes "Submerge", a tight and hypnotic affair carrying the right amount of subtle release. It locks in right from the start and doesn't let go! "Prime Dub" dives deeper into the frequency spectrum. Rhythm and sound stimulate the brain waves as a heavy chord phrase cycles to infinity. "Proto Sequence" follows a simple still infectious groove laced with various modulations. This track has party written all over it! Inspired by proto-house motifs pioneered by artists like Chi-town's Ron Hardy. "Metafunk" reaches out to Berlin's club culture at its core. That is, the youth and street culture! The phrase on repeat signifies the urge to reclaim the streets, while endlessly flowing within finely tuned electronics. "Mindloop" is a track written for the after hours looping state of mind. Another minimal house cut with a fair dose of psychedelic sound design. Lastly, "Descension" relaxes the mood through deep pulsating rhythms and playful arpeggios. Pushing towards a meditative state by stimulating mind, body and soul!?

"Prime Sequences" covers a wide range of styles like ambient electronics, peak time house and techno, as well as seriously effed up after hour minimalism! Made for both djs and music lovers, this is the second long player by GummiHz to come out on vinyl after his debut album "Sleepless Nights" back in 2009! While it succeeds his latest EP, "Groove is in the Hertz". What makes it even more special is that it comes out on brainchild Claap, giving the artist total freedom of expression.

Johannes Kolter is Kolter, an artist formerly known as DJOKO, and now a hotly tipped breaks and garage head who has already got plenty of attention. Here though he makes a grand and widescreen statement with the first release on the all-new Pilot label. It is a stylish and adventurous record with plenty of killer cuts from the downbeat hip hop opener to the deep house delights of 'Journey' via the elastic and energetic future house kicks of 'Roboflow.' Showcasing both a knack for well craft synths and expert drum programming precisions, this record plays out like a mini DJ set with all the twists and turns you need to keep you on your toes and fully engaged.

Rising star Amy Dabbs delivers us another huge house EP, dropping as the debut release on her brand new label Dabbs Traxx. The modern take on classic house that she's become renowned for in her recent
highly acclaimed releases permeates every track on Four Track Mind EP, serving up Amy's trademark pacey rhythmic percussion, emotive melodies, and fat subby basslines.
Ghosts kicks things off with ticking clocks and haunting melodies woven throughout, creating a deeply atmospheric track. It surrounds you with thick layers of pads and strings, underpinned with tear-jerking chords and vocals, sprinkled with touches of Amy’s beloved Juno 106. This track relays a moving tale of facing the ghosts of your past which, alongside Ghosts’ powerful percussive drops, is guaranteed to give the dancefloor goosebumps in more ways than one.
Til You See takes us in an uplifting direction, with a powerful bassline blazing against a backdrop of soaring pads and delicately placed arpeggiators, leading towards a spine-tingling yet subtle vocal as the track reaches its peak. Bringing Amy's desire to create music that moves you to life, this stunning track is brimming with jubilance and optimism from beginning to end.
Last but by no means least comes the EP's title track, Four Track Mind, its nostalgic organ sounds, bouncy percussive chops and big basslines ensuring it will be a huge dancefloor moment when played out. This energetic track takes you into the heavens with its relentlessly uplifting transitions throughout, Amy's intention clearly to place you firmly in the centre of the dancefloor with a massive smile on your face.
Having recently been named as one of BBC Radio 1's Future Stars 2022, and with a string of solo EPs coming out over the next 6 months, it's quickly becoming clear that Amy Dabbs is going to be a name we'll be hearing a lot more of this year

Reissue from Blahh !! as demand grows for this 4 track garage house flavoured ep. Swing in overdrive, from the deeper shuffle of "Closer" to the heavy bump of "I Don't Want U". "Freak Me Out" is a wonderfully frantic workout with all manner of samples and skittish key flex pinging around an uptempo groove, before "Talkin' About" pushes the swing even harder to conjure up a jazzy feeling smattered with sax licks and squelching synth stabs.

The only album by Austrian trio Cultural Noise is a an electronic marvel. Band members were Gerhard Lisy, Walter Heinisch and Karl Kronfeld, and instruments used included an ARP Sequencer, an ARP 2600, a VCS 3, an EMS Digital Sequencer, a Mellotron M400, a Micro Moog, a Roland Studiosystem 700, a Roland Analogue Sequenzer and an electric guitar. With these weapons and a strong influence from the Berlin school Cultural Noise created a rich electronic tapestry which expanded through the two pieces of this record, one per side, being compared by reviewers to works by Zanov or Anna Själv Tredge. Mentions of Tangerine Dream are also present on reviews, although Cultural Noise have a pretty unique personality on their own and besides sharing the use of Mellotron, sequencers and analog synths we have a totally personal concept here which sets them aside from all TD impersonators of the era.



The album was originally released in 1980 on CBS and later repressed in 1981 which came in a B&W version of the sleeve that some sources list as a self release private pressing done by the band themselves - this has been denied by members of Cultural Noise.



500 copies only reissue, housed in its original full colour version artwork.

Israeli producer Nenor delivers a 4-tracker of impeccably produced dancefloor weapons for his second outing on Razor-N-Tape.

Since releasing on Moodyman’s legendary Mahogani label a few years back and as part of duo Rabo & Snob, Nenor has been honing his craft in the studio, and now puts his skills on full display on an EP that ranges from the poppy disco house of 'How Can I Be Free' to the deep Larry Heard-esque textures of 'Do You Remember,' and the gritty underground bangers of the title track and 'Work That.' He did indeed take his time on this beautifully crafted record, and the result is something quite special.

Side A / Double A / You Feel Alright?

Double A returns for a sample heavy b-boy breaks workout with “You Feel Alright?”. This one’s a nod to his roots in late 80’s hip-hop; an à la Prince Paul cut and paste homage to a time when hip-hop was still for the dancers. There’s also a sneaky “whaddup?” to his fellow oldschool D&B heads in the breakdown. The main sample is 1970s
Afro-funk gold; horns, horns, and more horns. Bangin’ drums and a rolling baseline tie it all together for the dance floor.

Side AA / The Gaff / High Life

Party rocker, turntablist, edit maestro, all-round good dude, and Canadian National Treasure, The Gaff smashes a heavy afro-funk edit with a b-boy feel on this one. Knockin’ drums, syncopated percussion, and a house(ish) tempo make this one a guaranteed floor filler. A smattering of male vocals is the icing on the cake here too. Dj-friendly intro and outro for your mixing pleasure. A must for your crates.

Stefan Schwanders Repeat Orchestra presents “Infamous Lost Tracks”, an album appearing out of the blue, coming from spheres where time, space and Zeitgeist are nothing more than words.
With the Repeat Orchestra Schwander (who of course also is Harmonious Thelonious, A Rocket In Dub, Antonelli and a lot more) found a unique way of channeling deep House Music, a minimalistic setup and an idea of creating enjoyable music into amazing tracks that sound so effortless and natural. From first track "Call And Response" on it’s obvious that the main thing that this album is about is the groove, sometimes euphoric, sometimes quite unobtrusive but always irresistible, build from massive basslines, complex rhythms and the masterfully performed interplay of repetition and modulation. Warm harmonies, multilayered (at times quite unusual ("Nightdubbing")) melodies and subtle arrangements complete these Infamous Lost Tracks and their very own formular between Düsseldorf, Chicago and Lagos. There’s nothing harsh in this music, no aggression, still it’s far from being tame or tranquil: The pumping energy of "A Means To An End" or the sublime liquid shuffle of "Less Sensational" show the swing and kick inside these works that are made for delight but not to please.

And “Monks In A Club” is the most brilliant example of dancefloor understatement that you’ll ever hear in your life. Reduction, elegance and the right kind of mania concentrated into some minutes of pure club heaven. Handclaps, nonchalance & madness. An essential singularity and the swan song to the Repeat Orchestra, there will be no more of it. Get It And Smile.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

This is the second release of music from effgee on his own imprint fellice. With support for the first release from the likes of Move D, this next release brings you three house grooves for the summer, featuring some tracks from effgee’s archive which will finally see the light of day.

Repress, note new price. Black vinyl issue of the long sold out RSD compilation. Housed in heavy duty slipcase box. FOR FANS OF… Daptone Records, Big Crown Records, 45s, Soul, Funk, R&B. This is the follow up to our first volume of Soul Slabs, which is a collection of tracks from our 7” release series. For many of them, it's the first time they'll be appearing on an LP. Soul Slabs Vol. 2 is a collection of A-sides from the 7” catalog of Loveland Ohio’s Colemine Records. Specializing in heavy soul, funk, and R&B, Colemine prides itself on authenticity and an old school production style, while still making songs that seem fresh and are moving the genre of soul forward. This 3LP collection of 27 tracks puts their diverse catalog on full display, many of these songs being presented for the first time on an LP. Featuring artists such as Durand Jones & The Indications, Kelly Finnigan, Ben Pirani, Jr. Thomas & The Volcanos, Delvon Lamarr Organ Trio, Monophonics, Ikebe Shakedown, The Dip, The Sure Fire Soul Ensemble, Soul Scratch, and more!

Lykke Li returns with her fifth studio album, ‘EYEYE’.
The LP is an eight-track story about lust, attraction,
attachment and rejection - the landscape of love. The
songs are inhabited by moving images that neither
start nor end. Each film functions as a visual loop,
concise as a haiku, yet continuing in perpetuity. The
result is a somatic, repetitious experience.
Compounding chapters between a dream and reality.
 Lykke Li creates connection with the depth of emotion
in her lyrics and her consistency has made her an
iconic staple in music with a decade spanning career
having created her own lane when it comes to genre
and songwriting.

 In addition to selling out shows across the world, she
has performed on The Late Show with Stephen
Colbert, Conan, Jools Holland, and received praise
from The New York Times, NPR, Pitchfork, The Fader,
Complex, Rolling Stone and more. Last year, Lykke
featured on Mark Ronson’s critically acclaimed single
‘Late Night Feelings’ and joined him for a live
performance on The Tonight Show with Jimmy Fallon.
Outside of music, she starred in the Terrence Malick
film ‘Song to Song’ and also co-founded the female
owned Yola Mezcal brand, which brought the inaugural
all-female music and arts festival Yola Día to Los
Angeles and featured performances from Megan Thee
Stallion, Cat Power, and Courtney Love.

 180g heavyweight black vinyl housed in tip-on outer
sleeve and printed inner.

Second Sub Pop album by acclaimed UK act TV Priest finds them building on the
post-punk of their early material and maturing into a powerhouse of tense, politically
caustic, and thoughtful rock music.
Without a brutal evaluation of their own becoming, TV Priest might have never made
their second album. Heralded as the next big thing in post-punk, they were
established as a bolshy, sharp-witted outfit, the kind that starts movements with their
political ire. There was of course truth in that, but it was a suit that quickly felt heavy
on its wearer’s shoulders, leaving little room for true vulnerability. “A lot of it did feel
like I was being really careful and a bit at arm's length,” says vocalist Charlie
Drinkwater. “I think maybe I was not fully aware of the role I was taking. I had to take
a step back and realize that what we were presenting was quite far away from the
opinion of myself that I had. Now, I just want to be honest.”
Having made music together since their teenage years, the London four-piece piqued
press attention in late 2019 with their first gig as a newly solidified group, a raucous
outing in the warehouse district of Hackney Wick. Debut single ‘House of York’
followed with a blistering critique of monarchist patriotism, and they were signed to
Sub Pop for their debut album. When ‘Uppers’ arrived in the height of a global
pandemic, it reaped praise from critics and fans alike for its “dystopian doublespeak,”
but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic
Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of
tea and marking time via government-sanctioned daily exercise. As such, the
personal and professional landmark of its release felt “both colossal and minuscule”
dampened by the inability to share it live. “It was a real gratification and really
cathartic, but on the other hand, it was really strange, and not great for my mental
health,” admits Drinkwater. “I wasn’t prepared, and I hadn’t necessarily expected it to
reach as many people as it did.”
As such, ‘My Other People’ maintains a strong sense of earth-rooted emotion, taking
advantage of the opportunity to physically connect. Using ‘Saintless’ (the closing
song from ‘Uppers’) as something of a starting point, Drinkwater set about crafting
lyrics that allowed him to articulate a deeper sense of personal truth, using music as
a vessel to communicate with his bandmates about his depleting mental health.
“Speaking very candidly, it was written at a time and a place where I was not, I would
say, particularly well,” he says. “There was a lot of things that had happened to
myself and my family that were quite troubling moments. Despite that I do think the
record has our most hopeful moments too; a lot of me trying to set myself reminders
for living, just everyday sentiments to try and get myself out of the space I was in.”
“It was a bit of a moment for all of us where we realised that we can make something
that, to us at least, feels truly beautiful,” agrees Bueth. “Brutality and frustration are
only a part of that puzzle, and despite a lot of us feeling quite disconnected at the
time, overwhelmingly beautiful things were also still happening.”
This tension between existential fear born from the constant uncertainties of life, and
an affirmative, cathartic urge to seize the moment, is central to ‘My Other People’, a
record that heals by providing space for recognition, a ground zero in which you’re
welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is
a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or
any audience pressure to commit solely to their original sound.

For the 25th release in our Phonica White series, we are very excited to have three stunning tracks from Disco wizard Ron Basejam! When he’s not producing and performing with the legendary band Crazy P, Ron Basejam aka James Baron can be found putting out all kinds of dance floor power tools on labels such as Razor N Tape, Futureboogie and his own RBJ edits imprint, as well as delivering amazing remixes.

This release kicks off with ‘The Hurt Inside’, evoking late night Los Angeles highway cruises and the driving power of Knight Rider, it breaks down into a glorious euphoria for the breakdown before hitting Mach 10 again with the raw funk bassline and drums kicking back in. Over on the B-Side, proceedings begin with ‘Don’t Bus My Aux’ which finds Ron Basejam digging into a Deep House-in- fused world, drawing you in with Balearic pads before erupting with thunderous bass, vocal chops and chants that are expertly contrasted against soulful Rhodes-esque keys while the percussion grows into frenzy.

Rounding out the release, ‘Music People’ sets a call to the dance floor as its mantra, sitting some- where craftily between House and Techno with ease. The sung vocals flutter in the background with the marching drums and rumbling low end maintaining a cavernous groove. The track builds into an almost Boards of Canada-style warbling synth breakdown before sinking into the pounding percussion for the climax.

Artwork as always is supplied by the talented Pedro Carvalho de Almeida.

Kalita are proud to unveil the first ever compilationvfocussing on the phenomenon of 'Burger Highlife', avcrossover of West African melodies with synthesizers, discovand boogie that took over Ghanaian airwaves during the 1980's and beyond. Highlighting key recordings fromvgenre-defining artists including Thomas Frempong andvGeorge Darko, as well as more obscure sought-after tracksvby elusive bands such as Aban and Uncle Joe's Afri-Beat,vKalita come to the rescue of audiophiles, DJs andvmusic-lovers alike with 'Borga Revolution!' Spread over avdouble-LP housed in a gatefold sleeve. Accompanied by av16-page booklet featuring extensive interview-based liner notes on each artist and never-before-seen archival photos.

Delayed...

Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of RBCF. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, its 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."

white vinyl repress

jamesjamesjames hovers somewhere between Y2K house and super-sugary PC music, creating a unique and sexy sound that just feels expensive. The Melbourne-based artist has built a large following with poppy earworms and pounding house, and now joins Shall Not Fade's Classic Cuts series for a full EP of hits.

james2007EP starts with the anthemic "It's Not You, It's Me"; pairing the rumble of jungle breaks with melancholic, airbrushed vocals that show their SOPHIE influence, it's an eye catching opener. "My Purple iPod Nano" has a sound palette which will transport you straight back to a 00s club night, teasing a climax that stays just out of reach with pumping synth stabs and a kick drum that packs a punch.

On the B-side, "Orange Tesla" is a high-pressure roller that centers a pacey melody - sure to be a 3am dancefloor energiser. The record closer, "I Dunno Her", brings back the emotive edge with spaced out pads and glittery little ear candy moments overarching the still-racing beat. Ballad-like vocals that are barely perceptible add depth. This EP showcases jjj's talent for catchy and clever hybrid music, which is sure to make him one to watch.

The debut release from MAJIKAL featuring 4 dark hypnotic house cuts from the legendary El-B

After a parentship hiatus, Richard Zepezauer´s n s y d e imprint is back to push new boundaries and save some souls.

N s y d e proudly presents a next release by Skymark. It's his second full EP on the Berlin based imprint.

His Easy Saturday Night EP includes two excellent deep house jams backed with remixes by Kevin Reynolds and Mike Huckaby. The latter was previously released as a single sided limited edition.Skymark brings a bright and sun tinged house anthem on the Instrumental version of Easy Saturday Night on the A1.

The remix is in our opinion amongst Mike Huckaby's best productions. It touches the classic soulfulness of Larry Heard-style piano chords and blissful vocals combined with clear hints of Basic Channel's eternal electrifying waves. It's a perfect testament to Mike's unparalleled knowledge and wide musical range, Not only those who knew him will feel his presence while listening to this beauty.

On Insomnia, Skymark goes even deeper into deep soul territories. Pure vibes. Reworked by Detroit DJ and producer Kevin Reynolds. Made his frst appearance on nsyde back in 2011 and here he twists the original into N s y d e was founded 2011 by Richard Zepezauer.

N S Y D E will continue to bring back the family by unifying diverse artists from all angles of the electronic music familytree. N S Y D E believes in the political power of art, it brings together people.

N S Y D E does not believe in the power of political marketing of art, it divides people from each other. House Nation still under one Groove.

Early DJ support by : Antal (Rushhour), XDB, Laurent Garnier, Steffi (Ostgut), Electric Indigo, Dan Curtin etc.

We welcome back Stockholm house stalwart Viggo Dyst for his second contribution to our Classic Cuts series: an uplifting cut of five melodic tracks, including a remix from SNF mainstay, Earth Trax.

Tech-house banger 'These Knits' kicks off proceedings, with cosmic undertones that imbue it with a sense of buoyancy and playfulness. On the flip, Earth Trax teases out the track's cooler elements, introducing a more definitive pulse and replacing the melody's warmth with a greater sense of unease: catch this one reverberating around a cavernous warehouse. 'Promises' maintains the driving propulsion, introducing an acid melody which lends it anthemic grandeur before the sultry whisper of cymbals and female vocals on the modest deep house track 'CAT' strip things right back. Finally, the ambient closer 'Bubble Wrap' pays testament to Viggo Dyst's musical ambidexterity and his capacity for creating atmosphere with a full-bodied soundscape and rich tonal depth.

These Knits EP drops 10th June 2022 via Shall Not Fade

Following the success of Field Guide I, which Bandcampdescribed as
'collecting some of the world's best House,Techno, and UKG,' Maison
Fauna continues the traditionwith Field Guide II
The compilation represents the nextchapter in the evolution of Maison Fauna's sound, and giveslisteners an insight into what the burgeoning label plans todebut in 2022. Featuring an eclectic arrangement of House,Techno, UK Garage, and Drum and Bass from 8 talentedproducers ' each one pushing the boundaries of theirrespective genre in their own right ' Field Guide II weavesa compelling sonic narrative. The assemblage ofunderground electronic artists are sourced from ageography as expansive as the sounds they represent,ranging from Durham to Berlin and Bristol.

Vinyl now gone back to June. RIYL: Slowdive, DIIV, Electric Youth, The Cure, My Bloody Valentine. Solo project of Los Angeles based Matthew Doty (ex-Saxon Shore). For Matthew Doty, Deserta has always been about exploring a sonic universe that allows him to express a kaleidoscope of emotions, without having to say much at all. Through a patchwork of reverb-tinged textures – drone guitars, lingering synths and driving percussion – the Los Angeles-based singer/songwriter and multi-instrumentalist weaves together stories of care, frustration and catharsis that ultimately stretch to a gentle resolve. On new album Every Moment, Everything You Need, Doty chronicles the kind of year we all fear, full of uncertainty, tension and sustained pressure, and transforms it into a celebration of perseverance. It’s an essential reminder that we have the power to shape the stories we tell. The pandemic meant that Doty had to give up his studio and downsize a lot of his gear and instead, carve out a space in his two-bedroom apartment to craft the next chapter of Deserta. Sharing the space with his wife and son, Doty and his partner are also essential healthcare workers, which meant the couple would often have to tag-team childcare, along with 13-hour shifts in PPE and people constantly calling with questions about the ever changing guidelines and protocols. Once the blueprint for Every Moment, Everything You Need was set, Doty reached out to a number of collaborators to stitch together his vision for the sonic landscape. James McAlister (Sufjan Stevens, The National, Taylor Swift) came onboard to perform and record drums, while Caroline Lufkin (Mice Parade) wrote and performed vocals on the ethereal “Where Did You Go.” Elsewhere, the LP was mixed by Dave Fridmann (Tame Impala, Mogwai, Interpol), with Beach House and Slowdive producer Chris Coady engineering and co-producing, making this the first time Fridmann and Coady had worked together on a project. While the vocals are more prominent than Deserta’s previous albums, it’s their amalgamation with the instrumental aspects that secures Every Moment, Everything You Need as Deserta’s most confident and assured release to date. An affecting emotional candor teamed with persistent riffs and tenacious rhythms sees Doty unafraid to dive deeper; an unrestrained approach that ushers in a lustrous purging of agitation and anxiety. Showcasing those dark, exhaustive thoughts through crucial swells and looped, electronic soundscapes, it’s an LP that’s infinitely layered, with something new to discover with each and every enchanting listen.

Music For Nations release - essentially a reissue of the record from last year's ‘Kvitravn’, augmented with livestream audio from their worldwide streaming event last year, housed in limited deluxe packaging. 2CD with 28 double page booklet includes disc 1 – 'Kvitravn' (original album tracklisting) and disc 2 'Kvitravn – First Flight of the White Raven' (livestream audio featuring tracks from Kvitravn). 2LP set in gatefold sleeve pressed on 180gm vinyl with an 8 page booklet. Specialist promo/marketing activity across all relevant media outlets.

In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan.

This year, Glossy Mistakes are proud to present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius.

When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san’s social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac and William S. Burroughs electrified the air.

By 1996, the moment, brilliant and blinding as it was, was over. “We all felt that the rave scene fizzled out,” DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. “At the time, we saw eye-to-eye, with an implicit understanding of each other,” he explains. “Even now, twenty-five years later, I am confident it was like that.”

"A Ragged Ghost" is the eighth full-length album from electronic producer Jonas Reinhardt. Following albums on Kranky, Not Not Fun, Constellation Tatsu, and more, his debut release for Trouble In Mind brings together 11 new pieces that explore themes of life & death, netherworlds, and the liminal spaces in between. Taken together as a single narrative, the album offers a stirring exploration of mortality and immortality in what Reinhardt describes as 'a dance of religious syncretism, navigating spaces between the living and the dead'. "A Ragged Ghost" finds him synthesizing influences organically from familiar teutonic strains to the intense austerity of early 21st century electronic pioneers such as Biosphere and Susumu Yokota. A whisper of the Italo-disco-esque romps of Jonas' 2012's "Foam Fangs" EP & 2013's "Mask of The Maker" LP merge with his more kosmische leanings into a sinister, slightly funky, but also studious suite that at times feels like a lost sound library record from the KPM archives. Openers "Ape & The Universal Axis" and "In Lotto Commodore" decidedly sound like a selection from a lost film score while others like the bubbling "Sly Tomb" recall the works of Roedelius or Vangelis' serene soundscapes. Meanwhile, fans of the electro-ambience of Manuel Göttsching's strobe-light, proto-house (on his seminal "E2-E4") or the pulsing insistence of John Carpenter's visceral non-horror scores (i.e. "Escape From New York" or "Assault on Precinct 13") will find a lot to love about songs like "Tumb Tumb" and "Wretched Orchestra of Armistice".