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*Ltd Coloured Vinyl on Transparent Blue Vinyl* London-based musician and producer Ryan Lee West, aka Rival Consoles, creates driving, experimental electronic music that makes synthesisers sound human. His consistent desire to create a more organic, living sound, sees him forming pieces that capture a sense of songwriting behind the machines.

‘Now Is’ marks a new chapter in an ongoing quest for refinement and evolution. More playful and melodic, the album draws from much experimentation in minimalist songwriting and seamlessly blends synthesisers and acoustic instruments. “There are some pieces that are influenced quite strongly by the isolation and anxiety of these times. There are also pieces which are more optimistic and vibrant, which I think is a consistent attitude of my records, as I want art to express many aspects of life.”

From the elevating arrangements of ‘Beginnings’ and motorik beats of ‘World Turns’, to the isolation of ‘Frontiers’, influenced by the barren landscapes of Iceland, Rival Consoles’ eighth studio album subtly morphs and evolves. “The title of the record ‘Now Is’ interests me because it is the beginning of a statement, but it is incomplete. I like art that is open and suggestive of ideas even if they are inspired by very specific things. With my previous record ‘Overflow’ being very dark, heavy and almost dystopian, I wanted to escape into a different world with this music and ended up creating a record which is a lot more colourful and euphoric.”

For the sonic ‘Vision of Self’, West looked to create the kind of movement and colour a string section in an orchestra would construct, but with synthesisers. “I think there’s a lot of synergy between the two worlds. I wanted to create a hypnotic journey, where the synths and sounds weave in and out of each other, so you get lost in the music and don’t know where one sound starts or another ends.” This “journey” West refers to is symbiotic of the way he has approached music throughout a progressive career – an ongoing project that is never static and always moving forward.

A sense of euphoria is reached with the pulsating title track which bursts into colour like the appearance of the summer sun, while ‘Echoes’ is a vivid exploration of rhythm and sound for summer nights. The track starts with a dense collage of modular synths, fragmented metallic tones, broken sounding drums and a downcast melodic synth line. “This is a piece where the main melody has been in my head for a long time and was just waiting to come out. I kind of think of it as the sonic equivalent to an impressionist painting in that I wanted to explore the sensation of lots of small layers of different colours and textures that are constantly moving around each other.”

Rival Consoles is set to appear at festivals across Europe this summer, with headline shows expected to follow in the autumn.

dreamcastmoe is the recording project of singer, songwriter, producer, and DJ Davon Bryant, a lifelong resident of Washington, DC. His music moves freely between moods and modes, hypnotic, romantic, traversing electronic, R&B, funk, soul, and hip-hop... Resident Advisor dubs it "soulful, cross-genre dance music." This ability to adapt and finesse, to twist in different directions while staying true and coherent in vision, can be traced to his home city and its complex cultural history. "Most Black kids in DC don't ever get to this point," he says. "This is what I am making this music for, in the DC tradition of soul and empathy and love that is rooted in this city. My music is for real people dealing with shit every day." A versatile, modern artist and collaborator, dreamcastmoe has thrived in the underground since his first uploads to Soundcloud and Bandcamp in 2017 and subsequent releases with labels like People's Potential Unlimited, Trading Places, and In Real Life Music. Bryant's laid-back personality, emotional honesty, and infectious energy shine through his work and how he talks about it, as Crack Magazine notes in their 2021 Rising feature: "a steady combination of confidence, creativity, and calmness." He grew up playing drums in church; he's worked dead-end jobs, had ups and downs, even sold off all his gear one time, but never stopped reinvesting in himself. He is quick to praise his co-producers, rattle off influences _ the visual feel of NBA 2K, the comedic timing of Bernie Mac, the savvy legacy of Duke Ellington, for starters _ and credit resourceful DC breakouts like Ankhlejohn that showed him the roadmap. His voice, a steady instrument, seemingly connects it all, capable of slow falsetto flow, swaggering talk-rap, and outright croon. His storytelling style is choppy yet fluid, like a mixtape, which is how Bryant sees Sound Is Like Water, his debut on Ghostly's International's freeform label, Spectral Sound. The two-part project culminates as a full-length LP release in November 2022. The first side, released as Part I, opens on the blurred beats of "El Dorado," which dreamcastmoe dedicates to his journey. It's a head-nodder, an off-kilter earworm co-produced by Max D (Future Times, RVNG Intl, etc.), with Bryant harmonizing hooks with synth jabs and a pitched-down presence. "Complicated" is the slow jam, delivered smoothly from a Saturday night crossroads. dreamcastmoe is contemplative and committed... gliding and locking ad-libs into skittering rhythms courtesy of co-producer Zackary Dawson _ but also willing to let something go, "acknowledging that everything in life IS NOT easy." "RU Ready" takes off from the jump as a tribute, challenge, and promise to his partner and his city ("The times you sat with me when I needed you the most / Told me the things that I needed to see / Young black man, really trying to be what I can be / And I'm really from DC). In its potent two-plus minutes, the sonics (co-produced by ZDBT) press the message, all cymbal crashes, breakbeats, and serrated synth lines. "Cloudy Weather, Wear Boots" is a blitzing dance-punk track made in collaboration with Jordan GCZ on Bryant's first trip to Amsterdam. The album's flipside opens on "Much More," the first of two synth-and-beat ballads co-produced by ZDBT. Later on "Long Songz," he claims, "I'm not writing love songs no more," prioritizing the vibe with "all my day ones." He calls it "a cry for more normal moments. Everything doesn't have to be a fantasy love story, more time spent getting to the money, growing, and making a way." He saves two of his most propulsive cuts for the finale, co-produced by Sami, co-founder of DC dance label 1432 R. As their titles suggest, "Take A Moment" and "Make Ya Mind" operate as anthems for movement, with Bryant free-flowing commands above wildly-styled percussion. Per Bryant, the latter is both "wake & bake jam" and a "dance floor bomb." His parting line: "Action / You got to show me action / Reaction." The world of dreamcastmoe straddles virtual reality and the realness of DC, images both imagined and lived-in. Bryant has a knack for unexpected melodies but what makes his music so exciting is his capacity to defy the expectations of genre and image. A fluid ingenuity and vulnerability bottled by Sound Is Like Water, and this is just the beginning.

All You Need Is Now is the 13th studio album by English new wave band Duran Duran. Produced by Mark Ronson, the album was originally released in the US on March 22, 2011. The album peaked at #11 in the UK, becoming the band's 13th Top 20 album. It debuted at #29 on the US Billboard 200 chart (#7 Top Alternative Albums).

The lead single “All You Need Is Now” peaked at #38 on Billboard’s Adult Pop Songs Chart, while “Leave A Light On” reached #31 on the same chart.

500 Copies only on 180gm Heavyweight Classic black vinyl. Colour sleeve with printed disco bag/inner sleeve. Andy Crofts rounds up his Colorama artists on Volume 1 of this uber cool and eclectic compilation. The brainchild of Andy Crofts from the Paul Weller band the Colorama record label was set up initially as a vehicle to release records from Andy's own band The Moons but always with the ambition to champion the art of the songwriter and build an eclectic roster of like minded bands and musicians. Building on the critically acclaimed 'Pocket Melodies' from The Moons came the album 'Love & Chemicals' from Teenage Waitress and a new addition to Colorama Bristol DJ & Promoter John Britton joining Andy in the search for artists to join this burgeoning boutique label. The search culminated in the album you are now reading about 'THIS IS COLORAMA! VOL. 1' a collection of tracks from The Moons, Teenage Waitress, Sunzoom, Bliss Williams, Tiny Dyno, Duvet Daze, Pale Sabres, Wilderman, Chris Watson, Robi Mitch, Eloise, The Lunar Towers, Reid Anderson, Andy Crofts & Le SuperHomard which offers a diverse melting pot of genres with a common theme, to deliver memorable verses, hooks and choruses.

12 of the heaviest early tracks by the master of rebetika music. Markos Vamvakaris sings from the hash dens of the Greek ports of the 1930s - mournful, poetic, bitter music of love and long nights. Rebetika is the sound of Greece and Asia Minor clashing amid civil war, mass population exchange, and the anarchy of the late 19th and early 20th centuries. Poetic, mournful, and bitter, rebetika music was born in the hash dens (tekes) of Mediterranean ports, its verses whispered in Greek prisons before spilling out to the greater population in the 1930s, propelled in no small part by a series of remarkable recordings by Markos Vamvakaris. Markos, as he’s known to this day, sang heady, drugged out songs of love, pain and yearning at brothels, bars and hash dens in the port of Piraeus. He arrived as a youth in 1917, working as a skinner in a tannery. By the time he picked up the bouzouki around 1924, he was fully taken by the life of the manges, the lowest rungs of the Greek social ladder. They lived by their own code and in total opposition to the rest of the population, and rebetika was their music. On these twelve early tracks, recorded in Athens between 1932 and 1936, Markos was already a master of the bouzouki. His forceful, clean playing compliments his hoarse voice and his stunning rhythmic sensibility, the result of his years as a champion zebekiko dancer. Tracks build and spiral outward, his open-note drones and melodic lines drawing calls of ecstasy and encouragement from his fellow musicians. Translations of songs like “Hash-Smoking Mortissa” and “In The Dark Last Night” provide a glimpse into the life and language of the manges - Ottoman cafe music, the calls of displaced Greeks of Smyrna, the chaos and suffering of port life, it all comes through Markos’ songs. These recordings, incredibly rare and expertly remastered, mark the height of rebetika, the brief period between the music’s emergence on the recording scene in the early 1930s and government censorship of all lyrics starting in 1936. During the Axis occupation there was no rebetika recording, and though Markos had some hits in the years after the war, he never again attained this level. These are the dizzying, entrancing, and heaviest works of one of the great artists of the 20th century. Pressed on 160gm vinyl, includes full size 8 page booklet with historical notes, rare photos, and lyric translations.

In May of this year we invited both Sister John and The Bluebells to
spend a day in Green Door Studios - We also charged them both to cover
one of the others songs
The Bluebells chose "Glasgow Is A Rainbow" from Sister John's "I Am By Day"
whilst the latter chose the formers "Young At Heart" - brave decision ?Both songs
were recorded by Ronan Fay then mastered by Paul McGeechan.

Begging the Moon is a collection focused upon an early-to-mid 20th century style of Thai popular song, commonly named Phleng Thai sakon (meaning "song which is both Thai and universal"). With recordings taken from the end of WWII until the start of the 1960s, many of these tracks may also be referred to as Luk krung (meaning "child of the city") a more urbanised style of popular song that is in contrast to the Thai country music known as Luk thung ("child of the field").

Following the Thai cultural revolution of the 1930s and the following reign of west-leaning premier Plaek Phibunsongkhram, Thai culture began to adopt more and more western influences - with Thai traditional and classical music starting to incorporate western notation and particularly Jazz-orientated themes. Thai folk melodies were also adapted to create "ramwong" - a merging of popular western dance music styles such as the tango or rumba, spear-headed at the time by the pioneering Suntaraporn band.

In the years following the end of WWII, the Phleng Thai sakon began to gradually develop sub-genres such as phleng talad (market songs) or phleng chiwit (life songs) focused on rural topics, and sung with rural accents. A little while later this would lead to a formal demarcation in the music - with the polished and western ballad-orientated music known as Luk krung, and the more traditional/country style now dubbed Luk thung. The gap between the two would then widen, both musically and culturally, right up to the present day.

The recordings compiled here can broadly be categorised as being in the former Luk krung style, though some tracks may touch on rural subjects and motifs. However that is not to say they are overpowered by western musical influence - many of these tracks display potent aspects of traditional Thai music within their beguiling and romantic arrangements.

Thanks to Peter Doolan/Monrakplengthai.

Urwaxx returns with a long awaited second vinyl from Greenwald.
Inside 5 tracks showing exploration of electro and breaks music.
“Is What I Like” represents a reflection of his own vision of these styles.

LTD Repress !

Killer Edits of the King by Point G. Limited Edition ! Be fast

Aggressive Blackened Death Metal with hooks and technical finesse that invokes the Ancient Gods! Aurora Borealis has been around for years (going back to as far as 1994! and it has mostly self-released their albums. Underground fanatics might remember the band reaching out to promote its music on forums back in the day and tracking its progress, each album was a large improvement over the earlier ones. And through time Aurora Borealis had great drummers ranked in its line-ups: Tony Laureano, Derek Roddy and Tim Yeung, which indicates the quality and level we talk about here. Aurora Borealis plays Black/Death Metal, remaining gritty not unlike Angelcorpse, but being more dynamic comparatively. It has got unique themes and the album artworks represent that. As the band name suggests, they are indicative of the Aurora Borealis phenomenon although the band has progressed to involve sci-fi imagery not far removed from Nocturnus, where artworks are concerned. Musically, the band remains true to its original Black/Death sound but it’s doing it with far more potential and competency than the others. The band’s definitely got a solid US death metal sense, it is not flirting too much with the European style of melody-infused death metal as it may appear. One will be surprised to find it so hard-hitting and gravelly and yet be rife with some of the most driven and enthusiastic activity. It is not solely focused on being technical (which in a way it is) but it is varied and it is catchy. Floridian Death Metal bands have much in common with the way Aurora Borealis structures its songs and there is the ever-present Morbid Angel influence, infected with some early Malevolent Creation rabidity. This is what makes death metal so good, few could contest with that. It’s got Death Metal in its genes, but Aurora Borealis takes the vitriol from Black Metal especially in the vocal department and gives the music an edge that is hard to miss. Here there is that special spice, that sizzling quality that comes from the rasps, adding a certain Thrashiness to it as well. The hooks make this album special, because writing good songs can be safely left in the hands of founding member Ron Vento.

Hot on the heels of the sold-out limited ep Was It Ever Real?, The Soft Pink Truth releases a super catchy, sexy contemporary disco banger Is It Going To Get Any Deeper Than This?, Throughout the ten songs of the album, the provocation to go "deeper" prompts promiscuous moves across the genres of disco, minimalism, ambient, and jazz, sliding onto and off of the dancefloor, sweeping higher and lower on the scale of frequencies, engaging both philosophical texts re-set as pop lyrics and wordless glossolalia. Throughout, Is It Going To Get Any Deeper Than This? aims for a kind of psychedelic poolside take on disco, using the steady 120 bpm rhythmic chassis of the music as a launchpad for reverie rather than big room EDM bluster. Sidestepping retro kitsch but paying homage to highly personal interpretations of disco such as Arthur Russell, Don Ray, Dr. Buzzard"s Original Savannah Band, and Mandré, or the jazz-funk of Creed Taylor and CTI Records. Its emphasis on slowly morphing deep house grooves will also appeal to fans of DJ Sprinkles, Moodymann, and Theo Parrish. At once catchy and spacey, poppy and perverse, Is It Going To Get Any Deeper Than This? shows a restless musician trying to square the circle of dance music and meditation, repetition, and change.

Hot on the heels of the sold-out limited ep Was It Ever Real?, The Soft Pink Truth releases a super catchy, sexy contemporary disco banger Is It Going To Get Any Deeper Than This?, Throughout the ten songs of the album, the provocation to go "deeper" prompts promiscuous moves across the genres of disco, minimalism, ambient, and jazz, sliding onto and off of the dancefloor, sweeping higher and lower on the scale of frequencies, engaging both philosophical texts re-set as pop lyrics and wordless glossolalia. Throughout, Is It Going To Get Any Deeper Than This? aims for a kind of psychedelic poolside take on disco, using the steady 120 bpm rhythmic chassis of the music as a launchpad for reverie rather than big room EDM bluster. Sidestepping retro kitsch but paying homage to highly personal interpretations of disco such as Arthur Russell, Don Ray, Dr. Buzzard"s Original Savannah Band, and Mandré, or the jazz-funk of Creed Taylor and CTI Records. Its emphasis on slowly morphing deep house grooves will also appeal to fans of DJ Sprinkles, Moodymann, and Theo Parrish. At once catchy and spacey, poppy and perverse, Is It Going To Get Any Deeper Than This? shows a restless musician trying to square the circle of dance music and meditation, repetition, and change.

Erstmalige Vinyl-Wiederveröffentlichung des von der Kritik gefeierten dritten Albums der saharauischen
Tuareg-Gruppe Tinariwen, ”Aman Iman: Water is Life”. Das 2007 international veröffentlichte und hier
auf 180 Gramm schwerem Vinyl wiederveröffentlichte Album wurde von dem langjährigen Partner Justin
Adams produziert und enthält die Stimme und Gitarre des Gründungsmitglieds Mohammed Ag Itlale. Das
mit dem GRAMMY Award ausgezeichnete Kollektiv spielt einen gitarrenbetonten Zweig der malischen
Musik, der als Tishoumaren bekannt ist, einen perkussiven, rockorientierten Wüstenblues.
Das Album erscheint als 2LP.

Library Music: Volume One is a sixteen track double LP collecting the North London drone pop band’s 7” singles, one-offs and compilation tracks spanning the first 14 years of the group’s existence. It includes synth pop, indie fuzz and moody motorik workouts, alongside pastoral folk sketches, dubby electronics and the occasional drone experiment. More immediate than their stretched out and slow-burning recent album tracks, the music here is taken from limited vinyl releases, album bonus tracks and music for compilations on labels as diverse as Bezirk Tapes, Second Language, Modern Aviation, and Concrete Tapes as well as the band’s current home, Where It’s At Is Where You Are. The compilation is a happily cohesive document of an inventive band that rarely stand still for long. The band says, “We wanted to gather all our early, scattered work before we move on to our next album, to remind ourselves (and others) of some of the poppier and less characteristic things we’ve done. We’ve always felt a lot more relaxed and freer making one off things for people – it’s a chance to try things that might otherwise be daunting on a full record”. Always a prolific group this is by no means an exhaustive collection, the title giving a clue to how much more they have left to share. “We have been introduced to loads of bands that we love initially through non-album compilations – Broadcast, The Chills, Stereolab, Piano Magic, Flying Saucer Attack amongst others – we wanted to add our own to that (admittedly slightly daunting) lineage.” The Leaf Library are formed around the core group of singer Kate Gibson, former Saloon and Singing Adams guitarist Matt Ashton, guitarist SJ Nelson, drummer Lewis Young and bass player Gareth Jones. They have released three studio albums (Daylight Versions, About Minerals and The World Is A Bell) as well a number of electronic and experimental albums and EPs, remix compilations and long form tracks. They have also released five Monument CDRs; an on-going series of experimental solo and side projects on their Objects Forever imprint. The band have collaborated with musicians as diverse as Alasdair MacLean of The Clientele, singer Ed Dowie, noise group Far Rainbow and string collective Iskra Strings, and have provided music for a number of exhibitions, films and performances. A collaborative album with Japanese artist Teruyuki Kurihara is due in late 2022 on the Mille Plateaux label. Tracklisting: 01 Agnes In The Square 02 Goodbye Four Walls 03 City In Reverse 04 Walking Backwards 05 Soundings 06 Diagram Loop 07 The Greater Good 08 Losing Places (ISAN Remix) 09 A Stone In Water 10 Architect Of The Moon 11 Tired Ghost 12 The Still Point 13 Wave Of Translation 14 Badminton House 15 Tranquility Bass 16 A Gap In The Trees

Jordan Reyes is one of the busiest musicians in experimental music
today, and here he takes a bold turn with the metal-inflected Everything Is
Always, touching on death, Zen and science fiction
Reyes' previous collaborators include ONO, Eli Winter and Robert Stokowy, and
here he brings in a large and expert cast: Steve Hauschildt (Emeralds) at the
mixing board, and Heba Kadry (Slowdive, Big Thief, Alex G, Lower Dens)
mastering, plus instrumentalists including Lia Kohl (Whitney, Steve Gunn), Jon
Mueller (Volcano Choir, Death Blues), Patrick Shiroishi and Sam Wagster (Fruit
Bats, Eli Winter). The result is conceptual yet refined, and distinctively American
Dreams. Pressed on Randomly Colored color vinyl.

Jordan Reyes is one of the busiest musicians in experimental music
today, and here he takes a bold turn with the metal-inflected Everything Is
Always, touching on death, Zen and science fiction
Reyes' previous collaborators include ONO, Eli Winter and Robert Stokowy, and
here he brings in a large and expert cast: Steve Hauschildt (Emeralds) at the
mixing board, and Heba Kadry (Slowdive, Big Thief, Alex G, Lower Dens)
mastering, plus instrumentalists including Lia Kohl (Whitney, Steve Gunn), Jon
Mueller (Volcano Choir, Death Blues), Patrick Shiroishi and Sam Wagster (Fruit
Bats, Eli Winter). The result is conceptual yet refined, and distinctively American
Dreams. Pressed on Randomly Colored color vinyl.

Experimental post-punk outfit GIRLS IN SYNTHESIS are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ and available this coming October 14th via the band’s own label Own It/Cargo Records, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year. Formed in 2016, GIRLS IN SYNTHESIS are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. Side A 1- It’s All Beginning To Change 2- Watch With Mother 3- Total Control 4- Swallowed Pill 5- Screaming
6- My Husband Side B 1- Cottage Industry 2- Not As I Do 3- Lacking Bite 4- Your Prayers Have Changed 5- To A Fault

Experimental post-punk outfit GIRLS IN SYNTHESIS are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ and available this coming October 14th via the band’s own label Own It/Cargo Records, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year. Formed in 2016, GIRLS IN SYNTHESIS are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. Side A 1- It’s All Beginning To Change 2- Watch With Mother 3- Total Control 4- Swallowed Pill 5- Screaming
6- My Husband Side B 1- Cottage Industry 2- Not As I Do 3- Lacking Bite 4- Your Prayers Have Changed 5- To A Fault

When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the Hip Hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hypeman, Cypress’ debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change Hip Hop production with his innovative stoned-out beats. Cuts like "How I Could Just Kill a Man", "Pigs", "Stoned is the Way of the Walk" and "Hand on the Pump" made Cypress Hill an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's Essential Recordings of the 90s and Top 100 Best Rap Albums by The Source Magazine.