Suche:jol

Afro-Finnish band Maajo return with their third album, "Water of Life," a fluid celebration of various influences. Supported by two preceding singles, "Better Days" and "Unelmissani," the album is the group's first release with the Brooklyn, NY-based tastemaker label Wonderwheel Recordings. Maajo's signature Afro-Balearic sound meets late eighties new age and fusion, with touches of modern soul. The addition of two band members, Waina and Gilbert K, as well as featuring artists Issiaka Dembele and Ismaila Sané, has rooted the album's stories in a diverse range of backgrounds, featuring vocals in no less than six different languages.

Gilbert K's drum grooves pay tribute to the late Tony Allen's legendary heritage and the percussion experiments on a more melodic and atmospheric tip. Cold synth pads and 303 squeaks blend with warm guitars, fretless bass, and Issiaka Dembele's sublime kora harps and balafon mallets. "Water of Life" shows a band at its maturation point, reaching the cross-cultural coalescence of Finnish-African sound that's ready for the dancefloor or home-listening.

The three vocalists take centre-stage on the album: Waina hails from Zambia and sings in Nyanja, English and Finnish; a renowned musician in Zambia for over two decades who now calls Finland home, Waina wrote a song that reached the finals of the 2020 Afrimusic contest. Gilbert K primarily sings in his native Mauritian Creole while comprising part of the percussion line. He made his way to Finland by way of South Africa and China, eventually winning the Voice of Finland show. Gilbert K has played with such legends as Tony Allen, Andy Summers, Diana King, and Suzanne Vega. Ismaila Sané is from the Casamance region of Southern Senegal and sings in Wolof (a widely-spoken language in West Africa) on "Ndekete," and in Jola (a smaller language in Casamance) on "Èwàn".

Maajo is a sonic, linguistic, and cultural melting pot that has come together in Tampere, Finland, like a tropical breeze from the cold north. Their musical explorations lead from equatorial soundscapes to the woods and moods of their native Scandinavia. African influences, electronic beats and organic rhythms, ethereality and the sounds of nature all make up the patchwork sound of Maajo.

Not only is Maajo's music a way of travelling to faraway places, the songs themselves have travelled all over the globe. Maajo has evolved from a sample-based electronic music project to a full-sized band, including African vocalists and musicians. The group has put out two full-length albums and three EP's on Queen Nanny records, in addition to a release on German label Permanent Vacation. Maajo has received the remix treatment from artists such as Luke Vibert and Call Super, and has toured festivals and clubs internationally. The band has built a dedicated international following having been championed by the likes of Gilles Peterson (Worldwide FM), Tom Ravenscroft (BBC Radio 6), and Tim Sweeney (Beats In Space), while they've been featured by KEXP (Song of the Day), Resident Advisor, Ransom Note, and Pan-African Music.

"Water of Life" is out on Wonderwheel Recordings October 14th, 2022, both digitally and as an exclusive, limited-run 2xLP.




d 04: Better Days (Kumba) feat. Waina & Gilbert K

2022 Repress

During the 80's dancehall era a number of record producers claimed to be the real authentic sound of downtown Kingston but Ossie Thomas' Black Solidarity label, operating out of Delamare Avenue in the heart of the ghetto, was the real deal ....

This was the start of the 70's when the political rivalry got heated between JLP and the PNP, - also the shots start fire ....
I said to myself if you're going die, you're going die ... from that me not scared of Kingston' Ossie Thompson.

This album provides an insightful glimpse into life in these unforgiving Kingston neighbourhoods describing not only the poverty and desperation, but also how at times, styles, fashions and the cathartic joys of music, and the dancehall could transform this harsh environment into one of joyous celebration ...

For their sixth instalment, Lowlife Cartel follow up to their last two compilations (“Pimps Improvisations” in 2018 and “Omnia Vanitas” in 2020) with a new six-track VA named “Kodoku”; a vortical release, both bold and forward-looking, while fully geared for the club environment. Taking its title from a poisonous magic from the medieval Japanese era obtained by placing several venomous insects in a jar and letting them kill one another until only one survives, “Kodoku” - which interestingly also translates as “solitude” - features a cast of producers old and new to the fold including Saverio Celestri, the faceless △, Prince de Takicardie, Tundramane & Ko$te, Solar Alliance and Shampoo.

A staple element of the Lowlife Cartel bunch, Saverio Celestri paves the way and dishes out one of his signature jagged, EBM-informed weapons in “Sundays”. Through this hotchpotch of acid-steeped bass entangled with a frantic newbeat-ish swing and razor-sharp synthwaves, the Italian producer shows off the raw and playful facets of his craft to optimal effect. Unknown contributor △ clocks in with “Crachats de Lune”, a proper ominous banger going straight for the jugular with its clever mix of dusty, drum-laden churn, processed vox stabs and sci-fi-indebted laser bursts flashing by unrelentingly. Tailored for hi-octane action at the defunct Boccaccio or Hacienda, Prince de Takicardie “Jam’on’Acid (House Mix)” blows the winds of euphoria across the club like it was done in 1995. Vibing to a pulsating mix of rabid snares, 303-vehicled charges and mangled vocal samples on a classic free rave tip, throwback material that packs a punch.

Flip it over and here is North-American duo Tundramane & Ko$te shifting the scope to Memphis chopped-and-screwed in true hardcore fashion. Straight-out aggression, “Brick To The Face” lives up to its title, so expect leaving the place with a few teeth out your mouth and a good concussion, though more side effects could appear over repeated listens. A radical U-turn from the previous, Ute.- related triplet Solar Alliance - alias Ekkel, Oprofessionell and Mikkel Rev - bring their dashing trance touch to the comp with “Quest for Kiba”, an uptemp maelstrom for the senses, swirling and whirling up until space and time make no damn sense any more. Topping off that versatile tour de force, Japanese producer Shampoo adds his delectably sensuous spin on the record with the lush, sample-heavy lo-fi appeal of “四季ノ歌”. Unpolished feelgood vibes, sun- streaked soulfulness and deft-handed MPC wizardry are on the menu for this ultimate ride and jolly finale.

Brimming with breezy melodies, breakneck percussion, & electronic flourishes. Back in print 10th Anniversary, on Orange Vinyl. 181.8 k Spotify Listeners, 1.12 Million Streams. Recommended If You Like: Do Make Say Think, Explosions in the Sky, Ratatat, The Album Leaf, Mogwai, Positive/uplifting instrumental loopage ‘n riffage. Transitions is the 2012 album by post-rock duo El Ten Eleven. Bobbing and weaving from one time signature and tempo to another, the duo of Kristian Dunn and Tim Fogarty jolt the listener into new sonic territories with the delicacy of a tilt-o-whirl. Includes a cover of Duran Duran's "Tiger Tiger". Back in print on Orange Vinyl. A refreshing trifecta of compositional prowess, intricate riffage, and experimental pop melodies. --Premier Guitar // “El Ten Eleven is proof that live looping and programming can rock; and that instrumental tracks can captivate and hold a room’s attention as well as any vocal-led group.” --Tape Op! // Track Listing: Transitions / Thanks Bill / Yellow Bridges / No One Died This Time! / Birth / Tiger Tiger / Lullaby

Ein Konzeptalbum über das Bewusstsein, in dem die US-norwegische Künstlerin Okay Kaya ihre charakteristische Kombination aus Abstraktion und Witz konzentriert. Nach der Veröffentlichung ihres Jagjaguwar-Debüts "Watch This Liquid Pour Itself" 2020 zog Kaya von New York nach Europa, um ihre verschiedenen interdisziplinären Ausstellungen zu gestalten und zu zeigen. U.a. schuf sie eine Installation, die Unterwassermusik verstärkte, und eine interaktive Skulptur, die auf der Jung'schen Sandspieltherapie für Kinder basiert. Zwischen ihren Kunstausstellungen und Museumsperformances nahm Kaya in den von ihren Freunden großzügigerweise zur Verfügung gestellten Studios neue Musik auf. Das Album wurde außerdem von Ketamin-Therapien inspiriert. Während Kaya mit dem Tod ihres Egos experimentierte, schrieb sie mit den Stimmen fiktiver Charaktere, denen sie in den Geschichten anderer Leute begegnet war. OKAY KAYAs Erkundungen von Geist und Körper kommen mit verführerischen Dance-Beats, unvorhersehbar ineinandergreifenden Synthesizern, zarten Gitarren und R&B-Geflüster daher. Aber Kaya mag es, wenn ihr Falsetto bröckelt und ihre vom Soul inspirierten Hooks wild umherschwirren - ein schönes Chaos, das irgendwie zusammenpasst. Als sie jedoch nach New York zurückkehrte, freute sich Kaya darauf, wieder mit Freunden zusammenzuarbeiten. Sie lud zahlreiche davon in die Gaia Studios in Greenpoint, Brooklyn, ein, wie man der umfangreichen Tracklist des Albums entnehmen kann. So wie der Aufnahmeprozess von "SAP" mit der Isolation zusammenfiel und im Kreis ihrer Freunde endete, beginnt auch das Album mit einer Innenschau und öffnet sich im Verlauf immer weiter nach außen zu einer Romanze, zu Liebhabern, die als Spiegel dienen und Kaya aus verschiedenen Blickwinkeln auf sich selbst zurückwerfen.

Ein Konzeptalbum über das Bewusstsein, in dem die US-norwegische Künstlerin Okay Kaya ihre charakteristische Kombination aus Abstraktion und Witz konzentriert. Nach der Veröffentlichung ihres Jagjaguwar-Debüts "Watch This Liquid Pour Itself" 2020 zog Kaya von New York nach Europa, um ihre verschiedenen interdisziplinären Ausstellungen zu gestalten und zu zeigen. U.a. schuf sie eine Installation, die Unterwassermusik verstärkte, und eine interaktive Skulptur, die auf der Jung'schen Sandspieltherapie für Kinder basiert. Zwischen ihren Kunstausstellungen und Museumsperformances nahm Kaya in den von ihren Freunden großzügigerweise zur Verfügung gestellten Studios neue Musik auf. Das Album wurde außerdem von Ketamin-Therapien inspiriert. Während Kaya mit dem Tod ihres Egos experimentierte, schrieb sie mit den Stimmen fiktiver Charaktere, denen sie in den Geschichten anderer Leute begegnet war. OKAY KAYAs Erkundungen von Geist und Körper kommen mit verführerischen Dance-Beats, unvorhersehbar ineinandergreifenden Synthesizern, zarten Gitarren und R&B-Geflüster daher. Aber Kaya mag es, wenn ihr Falsetto bröckelt und ihre vom Soul inspirierten Hooks wild umherschwirren - ein schönes Chaos, das irgendwie zusammenpasst. Als sie jedoch nach New York zurückkehrte, freute sich Kaya darauf, wieder mit Freunden zusammenzuarbeiten. Sie lud zahlreiche davon in die Gaia Studios in Greenpoint, Brooklyn, ein, wie man der umfangreichen Tracklist des Albums entnehmen kann. So wie der Aufnahmeprozess von "SAP" mit der Isolation zusammenfiel und im Kreis ihrer Freunde endete, beginnt auch das Album mit einer Innenschau und öffnet sich im Verlauf immer weiter nach außen zu einer Romanze, zu Liebhabern, die als Spiegel dienen und Kaya aus verschiedenen Blickwinkeln auf sich selbst zurückwerfen.

Ein Konzeptalbum über das Bewusstsein, in dem die US-norwegische Künstlerin Okay Kaya ihre charakteristische Kombination aus Abstraktion und Witz konzentriert. Nach der Veröffentlichung ihres Jagjaguwar-Debüts "Watch This Liquid Pour Itself" 2020 zog Kaya von New York nach Europa, um ihre verschiedenen interdisziplinären Ausstellungen zu gestalten und zu zeigen. U.a. schuf sie eine Installation, die Unterwassermusik verstärkte, und eine interaktive Skulptur, die auf der Jung'schen Sandspieltherapie für Kinder basiert. Zwischen ihren Kunstausstellungen und Museumsperformances nahm Kaya in den von ihren Freunden großzügigerweise zur Verfügung gestellten Studios neue Musik auf. Das Album wurde außerdem von Ketamin-Therapien inspiriert. Während Kaya mit dem Tod ihres Egos experimentierte, schrieb sie mit den Stimmen fiktiver Charaktere, denen sie in den Geschichten anderer Leute begegnet war. OKAY KAYAs Erkundungen von Geist und Körper kommen mit verführerischen Dance-Beats, unvorhersehbar ineinandergreifenden Synthesizern, zarten Gitarren und R&B-Geflüster daher. Aber Kaya mag es, wenn ihr Falsetto bröckelt und ihre vom Soul inspirierten Hooks wild umherschwirren - ein schönes Chaos, das irgendwie zusammenpasst. Als sie jedoch nach New York zurückkehrte, freute sich Kaya darauf, wieder mit Freunden zusammenzuarbeiten. Sie lud zahlreiche davon in die Gaia Studios in Greenpoint, Brooklyn, ein, wie man der umfangreichen Tracklist des Albums entnehmen kann. So wie der Aufnahmeprozess von "SAP" mit der Isolation zusammenfiel und im Kreis ihrer Freunde endete, beginnt auch das Album mit einer Innenschau und öffnet sich im Verlauf immer weiter nach außen zu einer Romanze, zu Liebhabern, die als Spiegel dienen und Kaya aus verschiedenen Blickwinkeln auf sich selbst zurückwerfen.

An Indie-pop daydream desperate melody with true love's aim. A voice subtle in its delivery and powerful in its affect. Hooks, lyrics, melody, tears. I'd call it a teen tragedy but everyone's getting older, Hearts are getting bigger but head and heart can't ever line up. 11 tracks 45RPM. Ribbon Stage are a trio from NYC with no small amount of love for the noise pop days of Dolly Mixture and the Shop Assistants. The group does perfectly what only punks playing pop music can do–create chaotic noise in tandem with the sweetest hooks and most sophisticated nihilism. Ribbon Stage makes noise pop so catchy you swear you've heard before. Forever trapped in the space between your ears. Featuring Mari Softie (Ratas del Vaticano, Tercer Mundo, Exotica, and Pobreza Mental) as well as scene stalwart Jolie M-A (Juicy II, Boys Online) and vocalist Anni Hilator. Recorded by Hayes Waring on 1/2” 8 track tape in Olympia WA. Mixed by Capt. Tripps Ballsington. Mastered by Amy Dragon. Look for the video for singles “Playing Possum”, “Stone Heart Blue”, and “Dead End Descent” as well as a Fall West Coast tour, if touring is at all still possible in the new future. Whatever happens it is quite assuring that whatever these times may bring bands can still put out music as good as this EP. 2500 vinyl copies. “It’s an indie-pop joy ride” -SVL (Rollingstone) // Tracklist: 1. Playing Possum 2. Nothing Left 3. No Alternative 4. Nowhere Fast 5. Sulfate 6. Stone Heart Blue 7. Clock Tower 8. Hearst 9. Exaltation 10. It's Apathy 11. Dead End Descent

RAW SPACE" is rooted in chaos and chance, sensuality and intensity - it's an album that's able to sound alarmingly freeform and tightly controlled simultaneously. Already established as a genre-disrupting DJ, and even dubbed "demon of the Nile" by Ugandan politicians after an exuberant performance at Nyege Nyege festival in September 2019, Kampala-based sonic hypnotist Authentically Plastic brings a digger's literacy, an activist's intent, and an artist's playfulness to their jagged debut album. As both a DJ and a producer, Authentically Plastic is drawn to the idea of chance as a creative tool - to push against the idea of the all-knowing genius, and approach artistry instead as a facilitator, unraveling parallel mismatched rhythmic events. Their musical process is to start with chaos, then attempt to mold those fleshy structures into polyrhythmic mutations, pulling influence from East Africa's innovative musical landscape and augmenting it with an exploratory sense of surrealism. On opening track 'Aesthetic Terrorism', rough-hewn industrial rhythms chug mechanically against course, dissonant synth blasts and acidic arpeggios. There's a faint sparkle of Detroit's chrome-plated Afro-futurism, but bathed in neon light, reflecting Africa's contemporary electronic revolution. Authentically Plastic's productions have a sense of thematic coherence, but their myriad influences are torched into cinders, leaving inverse impressions and ghost rhythms: the tuned overdriven clatter of 'Anti-Fun' echoes Ugandan kadodi modes, yet simultaneously mirrors the rugged out-zone grit of Container or Speaker Music; standout centerpiece 'Buul Okyelo' meanwhile is as rhythmically cross-eyed as Slikback or Nazar, but juxtaposes kinetic dancefloor thumps with chaotic microtonal ritual cycles. Writing "RAW SPACE", Authentically Plastic found themselves fascinated by sonic flatness. They realized that in Western art, there's an obsession with depth of field that carries into music, robbing it of intensity. The album is an example of the power that can be reclaimed when you let go of depth, letting sounds rub together carnally and spawn something fresh and unexpected.

Ugandan DJ and producer Authentically Plastic presents their debut full-length on the Hakuna Kulala imprint.
‘Raw Space’ is a brilliant display of their self-described style of “free form femme fuckery”, harnessing East African influences, unstable polyrhythms and glinting techno production flourishes

Line Renaud is on of the most famous french singers and cabaret review leader. Discover or re-discover her duets with Dean Martin "Relax Ay Voo" ! Originals Versions Remastered

Adding to what already has been a tremendous year for the Berlin-based producer, Nat Wendell returns home for his third release on his very own imprint, Depths of My Soul. On the surface, DMS 003 may appear to be vintage—and pulsating—Wendell. Under the cracks of these three tracks, though, is a producer moving towards music as a tool of political and musical advancement.

A1’s “Takes These Chains off My Mind” is an explicit cry from liberation away from mental slavery, an anthem for, in the words of Wendell himself, people “emancipating themselves from mental slavery, placed on black and people of colour alike.”

B1’s “Tha Music” plays on similar ideas of music as liberation, jolting dancers into submission with its rolling hats and snappy arrangements that will easily fit into any house head's bag. Judging by the name,

B2’s “Questioning Existence” may seem a tad existential—but, taking a late-nite 90’s garage cue from his own hometown, it’s anything but!

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

Hoshina Anniversary offers a new LP of fluid, alchemical dance music in the shape of Hisyochi, on Impatience. Moving well beyond the initial influence of jazz fusion, electronica and his Japanese heritage, Hoshina Anniversary continues to carve deeper into his own cosm, and Hisyochi arguably represents this prolific producer at his most singular, refined and potent yet.

With nowhere to go and little to do, Hoshina was making music at a seemingly unstoppable torrent throughout the pandemic, sometimes sketching close to 100 tracks in any given month. Opening up a session from a previous track, he would erase all but one element, using it as a starting point for a completely new experiment, lending the body of work a subtle yet tangible coherence. Hisyochi was pieced together from a swathe of productions that came out of a particularly fertile period in the first half of 2021, which also birthed his recent release on Patience, Hyakunin Isshu.

Roughly translating to “somewhere cool to relax during a hot summer” according to Hoshina, Hisyochi transcends seasons but undoubtedly runs hot. Drum patterns are crisp, varied and invariably body-moving, basslines ascend at vertigo-inducing velocity, and dimly-lit jazz-bar piano is often the only element anchoring the sound to terra firma.

Following the plaintive, palette cleansing introduction of Rakka, Irahu plots the course with a light arpeggiator over a chugging rhythm before a warbly piano line to creeps in the back door. Misebayana is a jolt of gyrating mutant dance, part video game suspense and part footwork for drums and koto, while Kokoro no Heisei (Peace Of Mind) sees Hoshina deliver a salvo to stillness over a meandering, dubby spacewalk. Roman is an invigorating cut of warped dancehall tango, while the closing title track perfectly encapsulates the essence of the record and Hoshina Anniversary in 2022 in one elegant, acidic rinse.

Hoshina Anniversary is Yoshinobu Hoshina, from Hachioji, outside of Tokyo. He’s released records as Hoshina Anniversary on ESP Institute, Alien Jams and Youth, under his Suemori moniker for Osare! Editions and as Shifting Gears for Toucan Sounds, amongst others.

Hisyochi was written, produced and mixed by Hoshina Anniversary. It was mastered by Josh Bonati in NYC, and artwork is by Luca Schenardi.

New album by Steamhammer - British blues-rock band STEAMHAMMER
was formed at the end of 1968 by Martin Quittenton (guitar), Kieran White
(vocals, harmonica, guitar), Martin Pugh (guitar), Steve Davy (bass) and
Michael Rushton (drums)
Their first album "Reflections" (AKA "Junior's Wailing") was released in 1969. Pete
Sears played piano on this album before he joined Rod Stewart on his four early
classic recordings. Pugh also played on Rod Stewart's first solo album, "The Rod
Stewart Album" (AKA "An Old Raincoat Would Never Let You Down") with Ron
Wood, Mickey Waller, Martin Quittenton and Keith Emerson. After "Reflections",
Quittenton and Rushton both quit the band to be replaced by Mick Bradley
(drums) and Steve Joliffe (sax, flute), who gave a jazzy influence to the band in
their second album, "Mk. II" (1969). Shortly after this release, Joliffe left the band,
which continued as a 4 piece in their third album "Mountains" (1970), which was a
returning to the blues- rock of the first album. After a major turnover, Pugh and
Bradley invited Louis Cennamo (bass) and, along with special guest Garth WattRoy (vocals), recorded "Speech" in 1971. This last album was released
posthumously, after Bradley's death in 1972.Now, exactly 50 years after the
release of "Speech" and 53 years after Pugh and Sears collaborated on the band's
first LP, Steamhammer will release a new album, "Wailing Again". Featuring beside
1968 founder member Martin Pugh (guitars) and Pete Sears (bass, keys &
background vocals), member of Jefferson Starship from 1974 to 1987, Manfred
Mann's Earth Band - drummer John Lingwood, who joined Steamhammer in 1972,
and Phil Colombatto (vocals & harmonica).

Perc returns to Perc Trax with 'Dirt', one of his most raw and uncompromising works to date. Across three versions of the track, one remixed in collaboration with rising US star EAS, Perc fuses together dry looped techno with caustic industrial sounds and just a splash of rave euphoria.

Opening up the release is the original mix of 'Dirt' layering searing top end percussion over cropped breakbeats before dropping unexpectedly to an unmistakable classic piano riff. The riff has been completely replayed and reproduced rather than sampled and provides the kind of sudden jolt that Perc's productions are famous for.

On the B-side Perc teams up with Los Angeles DJ and producer EAS who returns to the label for the first time since his devastating remix of Perc's own 'Dumpster' in early 2021. Perc provides the beats and EAS serves up the 303 lines, as the hedonism of the original mix's piano drop is swapped for a screw faced slice of warehouse acid.

Rounding off the release is Perc's own 'Crowd Mix' which focuses on the beats with additional layers of percussion and atmospheric crowd samples filling the space taken by the piano hook and acid lines of the first two mixes.

'Dirt' will be released as a hand-stamped white label release in a stickered black paper sleeve. The release was mastered by regular Perc Trax mastering engineer Matt Colton at Metropolis studios with Adult Art Club handling visual presentation and design.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.