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Cassius Select returns to Accidental Jnr with another 12' to follow on from last years '90 / HERD' EP. He once again straddles the genres somewhere between techno, bassline and hardcore. ESSENCE is a huge rave cut of broken snare beats and shuffled kicks alongside Select's trademark idiosyncratic vocal snippets. The B-side offers up SHAOLIN SOCCER a post-dubstep wobble at a house tempo followed by HYPE HOUR another piece of broken suedo rave hardcore.

The EP is something of a gift to his brothers for their musical influence on him as the Australian based producer explains in his own words:

Much of my musical upbringing is related to my family, I owe my early influences to my two older brothers. skimming off their mix CDs, sculpting out what 'cool' meant. the eldest is a drummer and in retrospect, i think a lot of the Cassius project is maybe an attempt to impress him again. shaolin soccer is in reference to the 90s blockbuster of the same name, where we derived a lot of our own interpersonal humour. i keep going back to that world we built between the 3 of us. in the simplest way this is a gift to the both of them.'

Most southern soul fans will tell you that that the music produced in Memphis in 1967 and 1968 was the pinnacle of quality. So following on from our look at the River City’s soul output in 1967, we now turn our attention to an album covering the next year. As before, the singers here are a heady mixture of local Tennessee talent and welcome soulful guests who journeyed down south hoping that a little of the famous Memphis magic would rub off on their songs. There are soul genres to suit all tastes here – from the deepest ballads to upbeat tracks that will rock your socks off. Soul doesn’t get much better than the artists and their tunes on this LP!

#40 ON ROLLING STONE'S 500 GREATEST ALBUMS OF ALL TIME: ANTICIPATES LATE 1960S TURBULENCE VIA PROPHETIC SONGS AND DARK THEMES
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Any discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art. Transcending language and convention, its magnitude and magnificence need to be heard again and again. For here is an effort whose mind-boggling acoustic complexities and kaleidoscopic nuances are tailored for high-fidelity playback.

Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. Turn it up as loud as you want; the sole limitation will be your system's potential.

Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from its lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings.

The seemingly opposing combination – ominous, dark reflections situated amidst lush, light melodic beds – affords Forever Changes a distinguished tension of claustrophobia and openness, dourness and ecstasy, ugliness and elegance enjoyed by no other record in the rock canon. Much of the contrast owes to leader Arthur Lee's mental state and pertinent observations. Lee, whose suppressed romanticism often surfaces even amidst the blackest shadows and most cynical moments, believed he would soon die, and hence channeled everything from lasting hopes to acid-addled decay to the chilling testimony of a Vietnam veteran in his narratives.

Alternatively sad and beautiful, the album-opening and flamenco-inspired "Alone Again Or" establishes the mood for what follows. Vocals overlap and soar; tempos rise and fall; surrealism trades places with reality.Forever Changes thrives both because of and in spite of a surfeit of labyrinthine chords and difficult notes that never repeat. Its ambitious construction almost forced the already fractured band to cede responsibilities to session musicians, which appear on two tracks. The quintet's resolve to not only complete the album, but to do so with such poignancy and curiosity, further enhances Forever Changes' standing.

No wonder that, in the twilight of his troubled career, Lee performed the record in its entirely during concerts met with overwhelming critical acclaim. It was, and will always be, a personal manifesto of timeless relevance and appeal.

Boukou Groove – the soul-funk band from New Orleans – consisting of the charismatic singer/keyboardist/songwriter Donnie Sundal and the virtuoso guitarist/songwriter Derwin 'Big D' Perkins, is the best-kept American soul secret of the moment. Donnie, the frontman of Boukou Groove, is rightly considered one of the best white soul singers of the past fifty years. His soulful and funky voice evokes comparisons with greats such as Curtis Mayfield and Ronald Isley.
But let's not forget Big D, who is celebrated as one of the best guitarists in New Orleans. As a regular session musician, Big D regularly showcases his unique mix of jazzy and funky guitar playing on albums by icons such as Maceo Parker, Dr. John and Snarky Puppy. The latest album, 'Groovin'', released for the first time on vinyl under the 'Juicy Records' label, is a collection of their best work to date. After two successful tours in Japan with performances at the Live Magic! Festival and at the Blue Note in Tokyo, the album serves as a wonderful introduction before the European tour begins. While Donnie controls the vocals and bass role with his funky Moog Bass, Big D enchants with catchy guitar riffs and sublime guitar solos. Together with a talented drummer and sometimes horn players, they create an irresistible mix of New Orleans Funk, Southern Soul and Rhythm 'n' Blues. Boukou Groove has delivered one of the most enchanting modern funky soul records of this decade with 'Groovin''.

Colbie Marie Caillat (born May 28, 1985 in Malibu, California) is an American acoustic-folk singer and songwriter from Malibu, California. She has won 2 Grammys, namely for "Lucky", her duet with Jason Mraz, and for her collaboration on Taylor Swift's album Fearless in the song "Breathe".

WaterTower Music today announced the release of the eagerly-awaited House of the Dragon: Season 1 (Soundtrack from the HBO® Series), featuring 44 tracks from the first season of House of the Dragon, the Game of Thrones prequel which aired on HBO and HBO Max in August, and whose final season aired last night. All the music for the soundtrack was created by Emmy Award-winning and Grammy®-nominated composer Ramin Djawadi, responsible for the immensely popular scores for HBO's Game of Thrones and Westworld.


Four of Djawadi's tracks were released during the season to great acclaim from fans of the series. Today, fans can enjoy House of the Dragon: Season 1 (Soundtrack from the HBO® Series) in its entirety on 3LP gatefold vinyl, which is now available for pre-order.

Gibt es etwas, was Iren und Franken gemeinsam haben? Eine ganze Menge! Da wäre wohl zuallererst eine ganz besondere Heimatverbundenheit und die Liebe zu seit vielen Generationen überlieferten Traditionen, mit der man sich sowohl auf der Grünen Insel, als auch im rot-weißen Frankenland seinem Brauchtum widmet. Hinzu kommt eine gewisse sympathische Eigenwilligkeit, die Dinge auf seine Weise in die Hand zu nehmen. Und nicht zuletzt eine fast todesverachtende Geselligkeit, mit der Iren und Franken gleichermaßen unerschütterlich das Leben mit all seinen Höhen und Tiefen feiern Eigenschaften, die Fiddler`s Green seit mehr als drei Dekaden in ihrem mitreißenden High Power-Sound vereinen. Seit seiner Gründung im Jahr 1990 hat sich das Erlanger Sextett den Status als eine der beliebtesten, erfolgreichsten und beständigsten Formationen innerhalb der europäischen Folk Rock-Community erarbeitet. Eine bestens geölte Irish Speedfolk-Maschine, die sich nun mit ihrem neuen Studioalbum „The Green Machine“ auf dem Zenit ihres Schaffens zeigt! Schon während der Arbeiten an ihren letzten drei Alben begann sich die Idee zu „The Green Machine“ parallel zu entwickeln, zu reifen und schließlich ein Eigenleben zu führen. Gemeinsam mit dem bewährten Produzenten Jörg Umbreit (In Extremo, Grave Digger, Die Toten Hosen) entstand so in den vergangenen 36 Monaten in der Abgeschiedenheit des renommierten Principal Studios bei Münster ein lebendiger Organismus, der Fiddler´s Green nun von ihrer abwechslungsreichsten und vielschichtigsten Seite präsentiert. Zwölf Songs lang spannt die Band den stilistischen Bogen von ihrem liebgewonnenen Vollgas-Party-Sound über berührende Balladen und poppigere Stücke bis hin zu treibenden Midtempo-Rockern und sogar Country- und Western-beeinflussten Tracks, die man in dieser Form bisher noch nicht von den Erlangern gehört hat. 50 Shades of Green sozusagen, in denen die Fiddler jede Menge Energie mit einer beispiellosen Detailverliebtheit und einem hochprozentigen Storytelling verbinden. „Irish Speedfall“-2023: Ab Anfang November gehen Fiddler`s Green auf kurze Tour in Deutschland, bevor das Sextett das neue Album im Frühjahr 2024 auf ihrer großen „The Green Machine“-Tournee live präsentiert.

David Tattersall, the Wave Pictures guitarist and frontman releases a solo album of interpretations of John Fahey tunes, recorded live in the studio. "I have been a fan of John Fahey's music since I was very young; it has always been with me and I can't remember a time when I wasn't affected by it. It is weird music, and very good. Of course, Fahey is an important cult figure in the history of music: as the first man to find a language for steel string guitar that can stand proudly alongside the established tradition of nylon string classical guitar; as one of many men who rediscovered obscure old blues musicians and recorded them for a new generation in the 1960s; as one uniquely able to reconcile 20th century avant-garde music with folk tradition; as an early indie-label DIY pioneer. For me personally, Fahey went beyond technique, and to some extent beyond historical or intellectual justifications for his work. He explored his emotions through his instrument of choice, and in so doing made the case for the guitar as the ultimate conduit for emotional expression. While there are many imitators who try to play ''like Fahey'', I avoided using his fingerpicking style or sense of rhythm, and tried instead to use his music to explore my own emotions, my own dreams and memories. I was more interested in the lyrical and expressive aspects of Fahey's music than in the techniques of it. I tried to find myself within his compositions and without composing anything I feel that I have managed to make a David Tattersall record that says as much about me as any of the many albums that I have written. John Fahey's beautiful discography shows that the guitar can carry as much mystery and soul as the human voice, and simply put, I wanted in on a little of this action. This is my second all-instrumental solo acoustic album, and where this differs from my first attempt, Little Martha, is that here I improvised freely. I used Fahey's originals only as guides. I'm not sure what I was looking for, perhaps something beyond explanation, but I tried to be as free as possible, and I am delighted by the spontaneous results. Hopefully, they will make the listener feel happy and dreamy, just like the effect that Fahey's many albums have on me. One of the most important things that Fahey ever said was his advice to guitarists to try to feel the emotions that each chord they play on a guitar brings forth. He is telling guitarists to not only play the guitar, but to let the guitar play them. I did my best to follow this advice. I hope you enjoy listening to the album, that it brings you some dreamy moments, and that it sends you back to happily explore the originals. I had a great time recording it. Naturally, I can't put the experience adequately into words but that's the whole point. I think Fahey was a genius of the kind that creates a whole genre single-handedly. There could be thousands, millions, of reinterpretations of his compositions. In fact, there probably already are. And long may this continue. All tracks were recorded live with no tampering."

Multi-instrumentalist, composer, performer and curator L’Rain (Taja Cheek) returns with her third album I Killed Your Dog. Over-writing themes of grief and identity that informed her previous work, I Killed Your Dog considers what it means to hurt the people you love the most. Multi-layered in subject and form, L’Rain’s sonic explorations interrogate instead how multiplicities of emotion and experience intersect with identity. The experimental and the hyper-commercial; the expectation and the reality; the hope and the despair. “I’m envisioning a world of contradictions, as always,” Cheek explains. “Sensual, maybe even sexy, but terrifying, and strange.” Written amidst heartbreaks from the perspective of an earned maturity, I Killed Your Dog takes the sonic world laid out by L’Rain in 2021’s album Fatigue on a compelling new trajectory. Described by Cheek as an “anti-break-up” record, I Killed Your Dog takes the universal pop theme of love as its starting point – bold, bratty and even a touch diabolical – and inspects it through the form of a conversation with her younger self, untangling her relationship with femininity and the formal musical conventions that others have come to expect of her. Alongside long-time collaborators Andrew Lappin and Ben Chapoteau-Katz, Cheek has developed L’Rain into a shape-shifting entity that blurs the distinction between band and individual

We are back with a VA for our 8th release.

The title ‘Hood Classic’ by Lavan is exactly what it is, shuffle, chords and an extremely deep bassline.

‘Work It’ by Aezron has a speed garage theme with a touch of house and a vocal which may sound familiar.

The B-side flip delivers ‘Raw Uncut’ by L&F sampling Mobb Deep over some breaks and bass. Finally ‘Lock’em’ by Xantrax, giving a modern day grime meets UKG vibe.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

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On 22nd October, the Nottingham-raised and highly-praised musician/DJ/producer Matt Cutler, AKA Lone, presents his 8th album – and first in 5 years – ‘Always Inside Your Head’. It marks two major changes, with both a new label and new approach – featuring vocalists for the first time.

This deeply textural and ethereal artwork is situated high above the clouds, amidst the heavens, occupying a stratospheric state where swathes of synthesized vapour and azure rays sound like a literal breath of fresh air.

A varied selection of music influenced the record, but two main influences were Cocteau Twins and My Bloody Valentine. “I wanted to approach a range of different styles, but attack them from their angle in a way, so for example on 'Inlove2' I tried to imagine what a Balearic / acid house tune might sound like if it were produced by Kevin Shields”, comments Lone.

Another key example of Cutler’s strange but successful combination of elements is the halcyon bliss of ‘Echo Paths’, where his trademark fat drums and love for hip hop meet double-time pan pipes, dub effects and dream pop, mixed into a wonderfully lysergic concoction.

This rarefied auditory stratus was previously evident in tracks like ‘Alpha Wheel 4 (Ambient Mix)’ from ‘DJ Kicks’, ‘Under Cherry Blossoms (Minds Eye Reprise)’ from ‘Ambivert Tools, Vol. 2’, ‘Pulsar’ (from ‘Ambivert 4’), and ‘How Can You Tell’ (from ‘Abraxas’), but is now more fully-fledged, broader in scope and even more celestial.

In addition to the above, the LP exists somewhere between trip hop on Mo' Wax, 90s Warp, intelligent drum & bass and ambient house. There are heavier forays too, like ‘Mouth Of God’, where darker clouds emerge, but are pierced like acid lightning with fierce, tearing tech-step bass.

Although still firmly rooted in club culture – here Lone shows a definite leaning towards a song-based sound, with several tracks edging towards the same crossover space as the nineties hits which also inspired him – particularly William Orbit’s production on Madonna's 'Frozen', and Olive's 'You're Not Alone'. This is especially evident on the bright, spacious brilliance of 'Hidden By Horizons', where vocals and synths swirl around one another, with crisp breakbeats and reggae rolls pushing purposefully through the ether.

Despite initially seeming almost entirely sunny of disposition, upon deeper immersion there’s lot more beneath the album’s surface, both in its deep pools of immiscible layered elements, and also thematically. When recording Cutler kept in mind a loose narrative based on birth, death, and our existence in-between.

He then extended this idea to reach what may happen after death, which is reflected in the sequencing: By penultimate track ‘Undaunted’ the life reflected in this longplayer has come to an end, which is then followed by 'Coming In To Being And Passing Away' – an afterlife epilogue, which evokes a transition from this world to the next.

Die Gründung von 49North markiert eine neue Ära für Duncan Forbes, neben Charlie May eine Hälfte des legendären 1990er Progressive House-Duos Spooky und Remixer für Schwergewichte wie Depeche Mode, M83, Sasha, William Orbit und Apparat. Auf dem finalen Teil seiner '49North – Phase 1: Distilled & Amplified' Trilogie verwandelt der nicht minder legendäre UK-Produzentenkollege Mr. G zwei Tunes in Killertracks, während Forbes' selbst einen pulsierenden, breit angelegten, 10-minütigen Motor-City-meets-The-White-Isle-Trip mit Reminiszenzen an glorreiche Progressive-House-Zeiten bringt.

David Tattersall, the Wave Pictures guitarist and frontman releases a solo album of interpretations of John Fahey tunes, recorded live in the studio. "I have been a fan of John Fahey's music since I was very young; it has always been with me and I can't remember a time when I wasn't affected by it. It is weird music, and very good. Of course, Fahey is an important cult figure in the history of music: as the first man to find a language for steel string guitar that can stand proudly alongside the established tradition of nylon string classical guitar; as one of many men who rediscovered obscure old blues musicians and recorded them for a new generation in the 1960s; as one uniquely able to reconcile 20th century avant-garde music with folk tradition; as an early indie-label DIY pioneer. For me personally, Fahey went beyond technique, and to some extent beyond historical or intellectual justifications for his work. He explored his emotions through his instrument of choice, and in so doing made the case for the guitar as the ultimate conduit for emotional expression. While there are many imitators who try to play ''like Fahey'', I avoided using his fingerpicking style or sense of rhythm, and tried instead to use his music to explore my own emotions, my own dreams and memories. I was more interested in the lyrical and expressive aspects of Fahey's music than in the techniques of it. I tried to find myself within his compositions and without composing anything I feel that I have managed to make a David Tattersall record that says as much about me as any of the many albums that I have written. John Fahey's beautiful discography shows that the guitar can carry as much mystery and soul as the human voice, and simply put, I wanted in on a little of this action. This is my second all-instrumental solo acoustic album, and where this differs from my first attempt, Little Martha, is that here I improvised freely. I used Fahey's originals only as guides. I'm not sure what I was looking for, perhaps something beyond explanation, but I tried to be as free as possible, and I am delighted by the spontaneous results. Hopefully, they will make the listener feel happy and dreamy, just like the effect that Fahey's many albums have on me. One of the most important things that Fahey ever said was his advice to guitarists to try to feel the emotions that each chord they play on a guitar brings forth. He is telling guitarists to not only play the guitar, but to let the guitar play them. I did my best to follow this advice. I think Fahey was a genius of the kind that creates a whole genre single-handedly. There could be thousands, millions, of reinterpretations of his compositions. In fact, there probably already are. And long may this continue. All tracks were recorded live with no tampering

Re-release Soul entwickelte sich gegen Ende der 1950er Jahre aus Rhythm"n"Blues, Gospel, Blues und Jazz. Im folgenden Jahrzehnt war Soul ein Synonym für schwarze Popmusik. Kennzeichnend dafür waren vor allem die Produktionen von Motown Records, zum Beispiel Diana Ross & The Supremes oder Sam Cooke. Seither sind herzergreifender Gesang und groovige Vibes die größten Stilmerkmale des Soul. Zu den weiteren Ikonen des Soul gehören Curtis Mayfield, James Brown, Aretha Franklin, Barry White, Sam Cooke, Al Green und viele mehr. Deren Erfolg ist eng mit dem Kampf der US-amerikanischen Bürgerrechtsbewegung gegen Rassentrennung und für Gleichberechtigung verbunden. 1969 benannte man die Rhythm"n"Blues- in Soul-Charts um. Der Soul-Orkan, der während der Sechziger in den Charts tobte, ebbte jedoch wieder ab, kam aber runderneuert in den 70ern als Phillysound wieder zu erneuten Hitparadenehren. 1982 änderte man die Chart-Bezeichnung von Soul in Black Music. Die vorliegende Kompilation vereint die legendären Stimmen des Soul mit ihren unvergesslichen Hits.

Nothing in Narciso's (known) background indicated these 10 minutes of tension and release, a soundtrack to some nameless anticipation. Soundtrack, also, to a dance piece on video by choreographer Catarina Miranda produced in 2021.

It is certainly nothing one would expect to hear in one of his regular DJ sets. A long, moody intro appears to chart a difficult journey under heavy clouds, until the drums manifest themselves first as a sort of warning, or preparation, maybe a signal, maybe just warming up for the steady kick drum that follows, a clean 4/4 beat complemented by broken off-rhythms and sparse percussion that seem to run parallel in observation of the main event.

Clouds definitely open up towards the end. Crystalline drops brighten the sonic mood. Quite a unique experiment in Narciso's body of work, undertaken during a period when the DJ and producer, feeling unmotivated, decided to relax from detailed planning and instead allowed himself to flow along with the sounds, expanding possibilities and actually breaking free from previous notions of composition.

Repress!

Synergy in motion, London five-piece Ezra Collective are proving themselves as a harmonious tour de force. Their sound nods respectfully to a classic jazz footprint, celebrating the originators whilst simultaneously carving a path solely their own.

Ezra Collective marry the delicate technicalities of jazz musicianship with afrobeat and hip hop, tied together by a sound that's unmistakably London. Their live show is one of dynamic union; the strength of their partnership shines in performances that are commanding yet sensitive, soulful and pertinently groove-laced.

Following a joyous and stunningly cohesive show in May 2016, Boiler Room rightly labelled the group as 'pioneering the new-wave of U.K. jazz'. As the genre enjoys a new lease of life that is gaining momentum across the country, Ezra Collective are adding their own fresh and imaginative face to a style that continues to be 'as entertaining as it is educational' (Trench).

In a year that saw them sell out legendary London venue Ronnie Scott's not once but twice, 2017 also bought with it the release of their genre-bending second EP, Juan Pablo: The Philosopher.

After Ezra Collective took the EP on a successful tour across the U.K and Europe and completely sold out of the vinyl, Juan Pablo: The Philosopher went on to win the accolade of Best Jazz Album at Gilles Peterson's esteemed Worldwide Awards Jan 2018

Sigrid’s second album ‘How To Let Go’ is being released by Island Records on 6th May 2022. The Norwegian pop star will release the follow-up to 2019’s ‘Sucker Punch’ which was a worldwide smash. How To Let Go’ features 12 tracks including the previously released songs ‘Burning Bridges’, ‘Mirror’ and ‘It Gets Dark’, the latter of which came out as a single in March. The album was written at a time when Sigrid was reflecting on her life both in and outside of Norway.Sigrid is due to embark on a UK and Ireland headline tour in November. She’ll also make appearances at Glastonbury, TRMSMT, Standon Calling and other festivals over the summer.

Señor Sapo is a character created based on the Mesoamerican deity Quetzalcoatl:

while capturing Sr. Sapo atop The Pyramid of the Sun at Teotihuacan
in The Valley of Mexico; dawn…

Augie Robles (the photographer) spotted an elementary school class of around 25 children with two teachers suddenly appear scaling the momentous stair case behind our subject!

They shouted;

“Sr. Sapo! Sr. Sapo!”
the name has stuck! they wanted to have their pictures taken with Sr. Sapo? however; they did not want to touch him as they thought his skin might be “viscoso” or “slimy”?

“Q’uq’umatz” (as it is known amongst the K’iche’ Maya) goes back to the Olmec culture and represents the duality of flight to reach the skies; whereas the reptilian (in most cases a snake) represents the ability to mingle amongst other creatures of the Earth;
Among the Aztecs he was related to the gods of wind; of the dawn; of merchants and arts; crafts; knowledge and the planet Venus: as well as their patron god of the priesthood…

THE FUTURE S0UND 0f YESTERDAY is as well a construct of the imagination; a fictitious “orchestra” with many imaginary characters; KENT CHESTERFiElD; LEE NAilZ; PHATTITUDE; EPiPHANY TALEUR; ThE ClARKETTES (they actually exist in the “real” world)…

The titles:
“0de to A Tree”;
is the culmination of a night out in Berlin; “…met a young man in a bar close to the “atelier”; he said he wanted to play something on a piano; we go to the place and he plays this melody over a rhythm though not in rhythm?
…basically edited none of it; then used a series of tone generators and filters to change the sound into all the soundscapes you hear in the final piece; the title was simply a tribute to the trees…” Eric D. Clark

“is it good for Ya’?”;
is a slow pumping House song with a message in the form of a question; “is it good for you?” as in “I could do it; however; should I? you know; look in a mirror and ask the question”…
the Music came about as an experiment at NADEL EiNS Studio in Berlin; Heavy bass at around 116bpm plus Erix’s cheeky vocal stylings weaving in & out of frame (as well key) deliver a unique aural experience!

the final track:
“Elsewhere playback”
is literally the playback of a track Eric did under the guise of KENT CHESTERFIELD for a party series he did in Sacramento CA with AJ Sachs…
it’s really just a tool; the good thing is you can drop -8 (or -16 assuming your tables are tuned) to bring it to a tempo one could easily rap over OR push it up to +8 and have a dry Tech number? Either way it BANGS! Dub Plates & Mastering did a swell job!!

overall a must for any Dance Music aficionado’s collection out on October 10th on SHADDOCK RECORDS !

Der wiederum von Bob Stanley und Pete Wiggs (Saint Etienne) zusammengestellte Sampler ist eine Hommage an die nachmittäglichen Slots in Deeply Vale, Bickershaw, Krumlin, Weeley und Plumpton - Festivals der frühen 70er Jahre, die nicht die Kolumnen erreichten. Die sanften Hippies aufwecken und sowohl die schmierigen Biker als auch die Mädchen in kniehohen Stiefeln ansprechen. Und das ging am besten mit Lautstärke, Riffs und Percussion. In den Titeln von Andwella, Stack Waddy und Leaf Hound herrscht ein Hauch von Bedrohung und unerlaubtem Nervenkitzel. Zu den größeren Namen zählen die aufrührerische Edgar Broughton Band und die Könige des Festival-Freakouts Hawkwind. 'Tomorrow Night' von Atomic Rooster oder 'Back Street Luv' von Curved Air. Dazu u.a. Pink Fairies, May Blitz, Deep Purple u.v.a. Die Sounds waren schwer und oft unkonventionell, mit einem eindeutigen Geruch nach Gefahr.
Klatschen Sie in die Hände, stampfen Sie mit den Füßen, behalten Sie Ihren Geist bei. Zieh die Gummistiefel im Wohnzimmer an und dreh den Verstärker auf.

The American singer-songwriter tradition has always been tethered to a rustic austerity, the sort of front-porch authenticity that suggests an age where home electronics are still considered luxury items. But there's also the ongoing influence of Bob Dylan and The Band's Basement Tapes-that strange and beloved document of the magic that happens when private experiments with the folk template flourish into layered and lush songs-and its genesis through informal recording sessions. In our modern age, these kinds of casual DIY constructions are perhaps the more honest contribution to the Americana lineage-the true homespun artform. When Michael Nau and Whitney McGraw struck out on their own in the wake of the dissolution of their beloved indie-folk outfit Page France, they continued their songwriting practice with a new project called Cotton Jones Basket Ride. As legend has it, Nau and McGraw were working on the material for their debut full-length Paranoid Cocoon (2009) when they realized they had an entire album's worth of odds-and-ends from various recording sessions. The resultant album - The River Strumming - was released in 2008 on St. Ives in a batch of 300 unique hand-packaged LPs. As the label advertised it back in the day, the band "initially set out to make a cohesive record, and made just the opposite." Like The Basement Tapes, The River Strumming is a document of a band exploring possibilities without the weight of expectation. The band would eventually condense their name to Cotton Jones and make a name for themselves in the indie world for their fusion of dreamy folk and psychedelic baroque pop. But in the beginning, there was this weird and wonderful collection of songs made by musicians who were enjoying the private process of finding their path. Suicide Squeeze is proud to present a 15th-anniversary vinyl reissue of this long out-of-print classic with updated artwork by Kayleigh Montgomery-Morris.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Emmy-winning comedian, actor, writer, and producer Sarah Silverman returns with her first comedy special since 2013’s acclaimed Sarah Silverman: We Are Miracles. Recorded at The Wilbur Theater in Boston, Sarah Silverman: Someone You Love features the New England native showcasing her fearless chutzpah. Originally premiered on MAX on May, the special is now being made available on audio streaming services with a vinyl and CD release to follow.

Here's the first vinyl record release by Alien Rave. We still can't explain the strange circumstances surrounding this record, which came to our attention in a mysterious and unexpected way. A coded message through Ableton Live led us to a strange place where we found the recordings. The instructions were very clear - all we had to was follow them You'll find the results on this interstellar '94 electro-break track. Alien Rave sets out to get inside your head, introducing evocative and epic mental moments that give way to energetic tunnels built on a solid rhythmic foundation carefully designed to withstand elegant ultrasonic bass frequencies. For electro-break fans, this record could be seen as a journey which originated in the German-inspired Florida scene before eventually finding its way back to Spain. It's funny how Florida, home to some of the most robotic and extraterrestrial electro-break music, is also one of the hot spots of the global UFO phenomenon. Coincidence? Maybe, but we're looking forward to the next contact: we know it's coming.

A nice collection to relax in a warm and cosy musical atmosphere

A powerful collection with Johnny Hawk polishing acid-drenched mayhem, blistering electronics, and a penchant for old and new-school flares.
Limited pressing of 200 copies, with printed sleeve.

Flying Wig is an album of recurrent dualities; a can of paradoxes, a box of worms. The redwood and pine-surrounded cabin studio where Banhart was “constantly listening to The Grateful Dead” somehow birthed something slick, modernist, city pop-adjacent and Eno-esque. Banhart's eleventh record, it's the actualisation of a “precious friendship” with the acclaimed solo artist, multi-instrumentalist, producer and Mexican Summer stable-mate Cate Le Bon — a coming together prophesied by the mirror-image titles of their early solo albums (Banhart’s 2002 Oh Me Oh My to Le Bon’s 2009 Me Oh My) and a tenderness built on crude haircuts (“we finally met, soon after she was cutting my hair with a fork and that was that”) and home-made tattoos — but never previously translated into the recording studio. “It’s about transmuting despair into gratitude, wounds into forgiveness, and grief into praise,” - the product of a ritualistic creative practice that melts down and re-casts as it mulls, the stuff of sadness beautified as it changes shape — culminating in a record that “sounds like getting a very melancholic massage, or weeping, but in a really nice outfit… if I’m going to cry, I wanna do it in my best dress.”

A blistering advancement of the knife-sharp hooks and urgently efficient post-punk structures that they’ve spent over a decade refining since their formation in 2011, the band’s fourth album – and second on Specialist Subject - emerges from a period of flux for the band’s chief songwriting partnership of Emma Wigham (drums/vocals) and Mark Jasper (guitar/vocals). First came a move north to Yorkshire from their native London. “We had decorated a tiny, rented house in Mytholmroyd” Jasper explains. “We setup a practice room in the top of a mill nearby and tried to write music, which we did amid stress about money, and a fear of having made the wrong decision. We had left our jobs, friends and a nice but absolutely tiny flat in London behind, and moved to a small village in West Yorkshire.” Although they found the location to be beautiful, the transition from city life to rural turned out to be an odd fit – too much so, it turned out. From this relatively short stay in West Yorkshire, however, came a more permanent change as the couple welcomed their first child Ivy into the family. Although, they’re hesitant to put too much of Streams and Waterways influence on the shoulders of their young daughter – she arrived a year and a half into the album’s conception – there’s no denying that its themes of loss, birth, and being part of this eternal, momentary life were brought into sharp focus following their new arrival. “Streams and Waterways is about the struggle of looking at the clock, realising it’s actually going pretty damn fast and knowing that really you have no control over anything” Jasper confirms. Perhaps that explains the way that opener The Valley doesn’t even introduce itself before careering into a full-throttled, three-minute scuzzy rager that would approach the descriptor anthemic had it not been kicked and scuffed along the way; it’s maybe why the wiry, ferocious Choice You Make feels like a charge into a storm despite the uncertainty of what you might find. It’s perhaps why even when Witching Waves allow themselves respite on the pared down Open A Hole, there’s a churning anxiety that lies below the acoustic guitar and harmonising vocals: in many ways musically and thematically Witching Waves are relinquishing the control that’s always been a fixture of their music – with all the thrilling and nervous fallout that comes from that. Although the pair have since returned south (having relocated to Exeter), Streams and Waterways also serves as a document of their foray northwards. The surviving artefact from Jasper’s never-to-be-finished studio that he’d began to build in Yorkshire – following the ending of his London-based Sound Savers studio – the record is also the first to feature current bassist Will Fitzpatrick, who joined initially live on their support tour with Australian punks Camp Cope. Fitzpatrick – a key component of Liverpool’s DIY scene for two decades – quickly became a key part of the writing process. Recording sessions were done during periods of lockdown that allowed congregation, Jasper recalling a still unborn Ivy kicking hard during an early mix playback of It’s A Shame’s layered noise rock assault. “The song was about my past, a much harder time. But my future was egging me on” he says. It’s a neat summation of Streams and Waterways and its representation of the discomfort of life amidst the compulsion to ride on its journey regardless. It’s a record that finds Witching Waves looking into the future more than ever before, but still bristles with the rush of being in the moment – because ultimately, despite what may have happened or may yet come, the band’s strongest trait remains being able to keep you feeling in the present.

Vibraphone presents another huge release. This time it's Silicon Minds - IHY (Interstellar Hypnotic Yama -Biko) With an timeless Mayday Tribute Mix by the one and only Derrick May!
Highy recommended!

Toots Hibbert, Henry “Raleigh” Gordon and Nathaniel “Jerry” Mathias founded The Maytals in 1962. The Jamaican musicians became one of the best known ska and rocksteady vocal groups and helped popularizing reggae music during the Sixties. Their 1968 single “Do The Reggay” was the first song to use the word “Reggae”, resulting in the Oxford English Dictionary crediting Toots and The Maytals in the etymology of the word “Reggae”.

Following their signing to Island Records in 1973 they recorded and released their fourth album From the Roots. The album was recorded with Leslie Kong and features some of The Maytals’ most explosive tunes, while their predilection for gospel is still audible.

From The Roots is available on black vinyl.

Repress!

Original Artwork / Gatefold sleeve 2020 Remastered The last 4th work form Terumasa Hinos LOVE RECORDS is recorded when he returned to the U.S. In addition to Reggie Workman who is already familiar with Hino, Gary Bartz who had important role in the scene, Eric Gravatt who would be the member of Weather Report after this work, are involved as members. Like each other and Sister Mayumi, sound and play are so aggressive and dope. It is inevitable to be exited with Hino and Bartzs play.

Temple, Bassey, MacLaine and now, Hurt; in a world of Shirleys, the name Sophia Ruby Katz has chosen for her music is perhaps prophetic as it captures her stunningly emotive vocal approach. And whilst Shirley Hurt might be the perfect nom de plume for the creative Toronto-based artist, it’s her self-titled debut album which positions her as protagonist of her own universe.

Traversing sonic landscapes, Shirley Hurt’s vocals ebb and flow like lyrical Ley lines tracking the contours of her own well-travelled map. By the age of 18, Hurt had travelled extensively, having lived in upwards of 20 different apartments and houses, as a result never really feeling “at home” anywhere. At this age was when Hurt found herself in New York, dipping her toes into various scenes and musical realms. The first and only place she ever felt at home, and a partial home-base for her, she travelled between Toronto and New York until the age of 26.When the project she was working on in New York reached a dead-end she returned West, moving in with musicians Harrison Forman (Hieronymus Harry, Zones) and Patrick Lefler (Roy, Possum). Being surrounded by their improvising at all hours, a new approach emerged. “Harrison is a virtuosic guitar player, and I hadn't picked up a guitar in any serious way since I was 16,” she says, “by osmosis I started playing again for fun.” Without agenda, the process grew organically from there.

Hurt and Forman decided to travel across the US and Canada in a trailer for half a year, with the entire album written in the final months of their trip. Hurt had been writing loose ideas here and there but felt blocked creatively. When the pair reached Berkley, they wound up house-sitting for a tuned-in friend who recommended she pray, in a very direct way, to remove the block. “I took her advice and to my surprise it worked. The album was conceptualized and finished within a couple of months.” Shapeshifting in tone and phrasing, Hurt’s music alchemizes the furthest corners of experimental indie folk, pop, and country into a singular sound with elegant unpredictability.

Whilst Shirley Hurt’s lyrical and structural ideas may have emerged on the road, the album was self-produced and recorded at Joseph Shabason (The War on Drugs)’s Aytche studio in Toronto’s West End. It was engineered by Nathan Vanderwielen and Chris Shannon (Bart), and Hurt enlisted collaborators Jason Bhattacharya, Nick Dourado, Patrick Lefler, and Harrison Forman to hone her vision. “I wasn’t sure what was going to happen with the songs until we returned to Toronto,” she recalls. “Joseph and I had been talking about working together after sending across some demos and Jason happened to recommend his studio at the exact same time, so everything came together naturally at that point.”

Whilst her most recent adventures may have seen Shirley Hurt bound for Texas as an official SXSW artist (hand-picked by Gorilla Vs Bear to perform at their own showcase), she currently resides in her native Canada, more specifically rural Ontario, close to friends and family, and is already working on her second album. The ties to lineage are interwoven in the fabric of the music. Hurt’s mother, artist Leala Hewak, instilled a lust for life and innate value of creativity in her from a young age as she explored the role of gallery owner, vintage jewellery show host, mid-century modern furniture expert, real estate agent, painter. Hurt’s father, a civil litigation lawyer and new-wave obsessed music lover with an extensive vinyl collection, introduced Hurt to a wide-range of artists at a young age such as Nina Hagen, Laurie Anderson, Tom Tom Club, and endless others.

In her video for ‘Problem Child’ Hurt’s grandmother walks her through a generationally revered pie-making process. One would be tempted to hear this, and other songs, as autobiographical. Yet, Hurt’s lyrics are rarely pulled from her relationships or personal history––at least not consciously. Rather, they arise from somewhere less tangible or defined. “Lyrics tend to come to me when I am doing non-musical things - washing dishes, brushing my dogs, walking to the grocery store. I have a lot of voice memos on my phone and half-filled notebooks and when I hear something, I have to stop what I'm doing to get the idea down. Usually it’s bits and pieces. It's rare a full song comes to me in one go, but it's great when they do, and those are often my favourites.”

Carving out a space of her own in an all-encompassing universe, Shirley Hurt is the introduction to a long artistic story, and if the journey so far is anything to go by, it will be stippled with evermore unpredictable chapters.

"Richard Edwards is in the pocket. He’s been there for several albums now: 2017’s Lemon Cotton Candy Sunset, 2020’s The Soft Ache & the Moon, and 2022’s Ghost Electricity/Vampire Draw. Just as the Margot records defined his twenties, this “Beach Bum” era, as he calls it, may well define his thirties. That era is expanded in Two Sad Little Islands Drift Together, Two Lonely Little Monkeys Find A Tree: Rare and Unreleased 2015-2023.

Beginning with Lemon Cotton Candy Sunset, Richard has been steering his ongoing body of work toward capturing a feeling of being at sea. Life can find us at sea in any number of ways–in a marriage or partnership, or in longing for one; in parenting, and its ceaseless wonders and worries; in bodies and minds that confound understanding (whether just our own, or also that of professionals); in our rotting world, which we’ve fucked up beyond all repair.

“What does that sound like, though?” you may ask. Like Mike Bloom’s cascading fingerpicking in “Lil Dead Eye-d (b.),” or the tranquilizing combination of Dave Palmer’s piano and Perla Batalla’s multi-tracked vocals on “Love (b.)” Like the L.A. based Section Quartet on “True Love Waits,” or the triumphantly stoned Velvet Ocean jam-session that is “Jane Greer With A Gun.” Like Richard’s use of melody and imagery on “Pink Lightning (b.)” and lead single “Benzedrine,” where he is masterfully accompanied by Erin Rae (on the former) and Maria Taylor (on the latter).

Unlike Richard’s past archival releases which have often featured home demo recordings, everything on Two Sad Little Islands has been produced in-studio. With this 3-LP vinyl set, Richard presents just over two hours of material that once again makes his case as one of the “most underrated songwriters of our time” (LA Review of Books)."

Boldy James returns with a new vinyl release, and this time around Boldy teams up with producer ChanHays on Prisoner Of Circumstance. This is Boldy at his best and continues his run of single-producer collaboration albums - Killing Nothing, Fair Exchange No Robbery, Mr. Ten08, Be That As It May and Indiana Jones - which began in May 2022. On Prisoner Of Circumstance, you can listen to the Detroit legend spit tales from the streets in his patented gritty bars on wax. Don’t miss out, this is a must cop for all the real hip hop heads out there!

2023 Repress!
Since 2009’s critically acclaimed Machine Dreams they have not sat still, touring the globe and making some high profile friends along the way.
No one in their right mind would have expected the future of soul music to come from Gothenburg, Sweden. But there it is in the dreamy, rhythmical, shifting, moody rainbow creature that is Little Dragon. It is easy to see why some of the world’s top musical luminaries are falling over themselves to work with them. Stylishly seductive in their own right, their 2007 selftitled debut was filled with classy songwriting and cool production, with the stunning track ‘Twice’ getting played on Grey’s Anatomy and countless adverts since it’s release. Machine Dreams showed a bouncier side, as they flexed their dancing nous and came up with an album that would turn Prince’s head.
Damon Albarn invited them to collaborate on two tracks for last year’s Gorillaz record Plastic Beach, which became album highlights for the critics with Pitchfork describing the songs ‘Empire Ants’ and ‘To Binge’ as “two of the most arresting things here; they’re airy, elusive and amazingly beautiful”.
Little Dragon started 2011 with a headlining tour of the U.S. and a performance on Late Night with Jimmy Fallon in March, thanks to a recommendation from super-fan Questlove of The Roots. In May, the band appeared on the track ‘Just Don’t’ from Raphael Saadiq’s Stone Rollin’, a record some are already calling the album of the year. Then Big Boi and DJ Shadow called to invite the group to work on new music.

White Vinyl Repress

The 12 track album was written and produced since the turn of 2013 and mixed with Erol Alkan at 'The Phantasy Sound', the label's own studio in London.

A difficult trick to master but like Carl Craig's 'More Songs About Food And Revolutionary Art', Plastikman's 'Consumed' or more recently the work of Four Tet, the album works as a cohesive whole rather than a disparate collection of tracks. Innovative and forward thinking, Drone Logic manages to draw influences from beyond the dancefloor via My Bloody Valentine, NEU! and Chris Carter while still having the techno pulse to scale the walls of any club. The wide array of plaudits and early adopters of Avery's music is proof of this, ranging from acid house legends like The Chemical Brothers, Andrew Weatherall and Richie Hawtin to the best of the new breed in Maya Jane Coles, James Holden and Factory Floor.