Suche:like mike

Kerri Chandler’s Kaoz Theory kicks off 2022 with Mr. ID’s Language Of Jazz EP, featuring two remixes from the label boss himself alongside two original cuts.

2021 saw Kerri Chandler’s Kaoz Theory continue to move from strength to strength, unveiling material from the likes of Dutch rising star Chris Stussy and of course Kerri himself, here we see the imprint wrap things up with a new addition to the roster, Casablanca, Morocco-based artist Mr. ID.

Up first on the release is ‘Track ID1’, a collaboration between Mr. ID and Youssef Grirane featuring Rita Mdn. It’s a unique six-minute journey through jazzy pianos and organ licks, intricate organic percussion and mesmeric, textural atmospheres. Kerri gives it the remix treatment in style extracting all of the jazziness of the original and retwisting things with the classic Chandler authentic house feel. Next, Chandler employs his revered 623 alias for the ‘623 Again Mix’ version which strips things back to low-slung drums, bumpy stabs and emotive piano lines.

The flip side houses ‘Track ID1’ in all its original glory before ‘Track ID2’ closes out proceedings seeing Mr. ID join forces with Younes Akhraz, rhythmically shifting to a jazzy 4/4 drum groove while wandering keys and warm subs fuel the mystical vibe.

DJ Feedback:

Sasha – Tasty

Laurent Garnier – Love the whole EP

Jimpster – Jazzed up piano house heaven! Love It!

Lea Lisa – Lovely remix by Kerri

Mr. V – Kerri delivers the goods once again!!!

Anja Schneider – Great. Love It.

Archie Hamilton – Nice

Andrew Treagust - Man that's some crazy production – really like it!

Mike W - absolutely classic release. how on earth could you go wrong? the world needs more piano!

Fish Go Deep - All tracks sounding great here. ID1 is a lovely warm groove and Kerri's remixes inject a little dancefloor bump to proceedings.

Daniel Troberg – incredible music

Kiki Navarro – excellent single, loving all the mixes special ID1 and the Kerri Chandler Main Remix

Ben Lovett – Remix mastery from Chandler – wonderful meeting of piano and drum – fire.

Sergio – Excellent example of classic house with personality

Hector Samper – Amazing EP!!!

In the early 21st century, a shadowy figure rose from the dust that settled atop forgotten record collections throughout Africa, leaving behind
a trail of clues in what seemed like a wild good chase, but in October 2013, Luaka Bop will unmask a phantom: the great William Onyeabor.

'...anyone out there making music at the moment will be quite excited by this...' Damon Albarn
'...a synth-slathered prog-funk killer...' - Pitchfork
"talk to @LuakaBop about details of the William Onyeabor comp they are working on today... gonna blow minds!!!!!!!!!' - Four Tet

Promotional Assets
Covers & Remixes by Devendra Banhart, Man Tear (DFA) & Hess Is More, Caribou, Dam-Funk, Justin Strauss, Scientist, Optimo, Prince Language, Illum Sphere, James Holden, Peaking Lights, etc.

Art collaborations with John Akomfrah, Njideka Akunyili, Harrison Haynes, Dave Muller, Odili Donald Odita, Xavier Simmons and music videos by Brian Baderman, Mike Sumner & Kindess. Partnership with Moog, Boiler Room, DubLab, Beats in Space & East Village Radio. Events at Moog Fest, Pop Montreal, Le Comptoir General

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

Berlin-based, Dutch-born Steffi possesses near-boundless prowess. As a DJ, she’s proved her effortless mastery of disco, house, electro, and techno; as helm of labels Klakson and Dolly, she’s long maintained her status as tastemaker; as a producer, she has graced us with three solo LPs and numerous 12”s. Dark Entries is now honored to unveil the debut of her project Crushed Soul, a moniker she had used only once in 2013 for an Ostgut Ton compilation track. The mutual esteem of Steffi and DE has been previously fruitful, with Steffi providing a remix for Cute Heels’ 2016 EP on DE, but this is their first full-length collaboration.

The Family of Waves EP represents both familiar and novel pastures for Steffi. While her love of electro and classic Detroit techno have been oft-evident, here we witness the darker shades of new wave and industrial creep to the forefront. This turn for the twisted feels not just natural, but predestined, an inevitable succumbing to morbid forces. But Steffi also views Family as “a playful association...a mix of my past and new modern waves". There is a kernel of whimsy, even joy, lurking within the record’s temporal jumblings. The A-side opens with “Gravitational Field”, which juxtaposes its gnarled bassline with unearthly percussives and a recurrent resonant gong. The wild sonic palette speaks Steffi’s singular voice. “Scalar Property” continues the paranoid propulsion with an unhealthy dose of what can only be described as Metroid-funk, its staccato bass jabs interlaced with ghastly vocal pads. The B-side contains a diptych of slower tracks that juggle reference points both retro and futurist. In “Family of Waves”, a churning EBM-esque bassline battles acerbic yelps. On this track, the collision of past and present is most pronounced, as if A Split Second were covering Mike Parker. “Diffusion of Heat” closes the EP with what feels like a perfect synthesis of Steffi’s musical passions: funky, warbling chord stabs; intricate rhythmic diversions; the ecstasy of repetition. Here, disco, new wave, and techno marry harmoniously, if only to inform us of the disharmony of our present.

All songs have been mastered for vinyl by George Horn at Fantasy Studios. The sleeve and accompanying postcard were designed by Eloise Leigh using video art stills by Goldenliustra.

The second edition of Dekmantel’s foray into the era-defining, trans-Atlantic, cult techno label that is Djax-Up-Beats, comes another re-issue of classic 90s cuts.

The label say "The Dutch label was responsible for releasing some of underground’s most foundational dance music, mixing together Chicago and European artists alike, and acting as the launchpad for some of today’s biggest producers. Featuring offerings from luminaries such as Felix Da Housecat, and Glenn Underground, alongside veterans such as Steve Poindexter, and DJ Skull, this second EP highlights the classic label’s old-school’s sound, while showcasing its diverse range, from dubbier, ambient moments, to wall-thumping, body crushing house force. Timeless music, repressed, and re-released for a new generation of DJs who covet the classic machine music.

The second re-issue EPs, offer a more introspective look at the label’s earlier releases. Leading Volume 2 is Terrace’s 'Bewitched', to which DJ Richard has described as being the defining track of the label’s beginnings with its "dreamy, Detroit-style techno mixed with the harder rave elements of Northern Europe”. Glenn Underground’s bass-roller 'Real Space' weaves together soulful passion and Chicago prime beats, while Felix Da Housecat’s Temptation — originally from 1993 — gets a well earned re-release, reminding us of the soulful, deep and lustful energy the producer once had. China White, whose name doesn’t get banded around as much as it should nowadays, see their ethereal hit 'Theme from the Underground' get another opportunity to bliss out the more upbeat rave community.

The energy turns darker with Frank de Groodt’s The Operator, breaking the outer-most barriers of electro-techno, with 'The Mind Strike'. Chicago and Dance Mania’s Steve Poindexter turns out rolling, dance-energy bomb 'Body Jam', while Mike Dearborn’s deliverance of unreal, dry techno in 'Deviant Behaviour' runs aplomb with classic drum-machine pulses, claps, and uncomfortable, yet punishing melodies. DJ Skull’s 'Don’t stop the beat' rides the EP with gushings of hand claps, and gentle, early 90s warm techno color, that transport you back to a time of more informed, and conscious electronic musings, a feeling that embodies Djax’s heyday.

Founded in Eindhoven at the turn of the 90s, Djax-Up-Beats quickly earned an international reputation for being a key source of Chicago house, acid techno, and floor-filling, heavy-hitting, straight up underground 12”s. It’s a sound that spawned the sonic aesthetics of today, and can be heard in the left field techno productions of the likes of Bjarki, Salon des Amateurs and other erstwhile analog junkies."

Lyra is DeWaltas fourth large solo-project and third full-length solo-album following Wander in 2012 (on Haunt), llumination in 2014 (on Meander) and Dark Matter in 2017 (on Amphia) besides - Residual' a collaboration-album with Mike Shannon.

The album consists of two individually available parts: a double LP (Lyra) with 6 tracks on Meander as well as a single LP (Lyra Pi) with 5 synth and ambient works. The Ambient-Part launches a new Meander Horizon Pi series-- a departure from Meander's well known dancefloor releases.

Lyra is by far DeWaltas most extensive and refined project to date. With 11 exclusive songs, a total running time of over 100 minutes - plus a collaboration with long time friend and Meander co-owner Fabian Geimer-Lorusso aka. Jupiter - it marks a new beginning of ambient and score-like modern electronic music works as well as the continuation of his inspired intellectual-emotional approach to dance music.

Lyra is a star-constellation in the northern hemisphere which is highest in the midnight sky in the early summer months. It contains one of the brightest stars in the sky - Vega. Many of the songs on this album were produced in these warm and gentle months during an inspirational creative time in Portugal.

In Greek mythology, Lyra represents the Lyre of Orpheus, Apollo's son. Made by Hermes from a tortoise-shell, it was given to Apollo who then passed it along to Orpheus. It is said to be the first music instrument ever made

What's the first thing you think of when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, melody-maiming John Dwyer careening across your cranium, rounded out by a wild-eyed wrecking crew that drives every last hook home like it's a nail in the coffin of what you thought it meant to make 21st-century rock 'n' roll? Yeah, that sounds about right. But it misses a more important point-how impossible Thee Oh Sees have been to pin down since Dwyer launched the project in the late '90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. (While Dwyer still records songs on his own, Thee Oh Sees is now a five-piece featuring keyboardist / singer Brigid Dawson, guitarist Petey Dammit, drummer Mike Shoun and multi-instrumentalist / singer Lars Finberg.) That restlessness extends to everything from the towering, thirteen-minute title track of 2010's Warm Smile LP to the mercurial moods of 2008's The Master's Bedroom Is Worth Spending a Night In. Now, Thee Oh Sees chase the home-brewed symphonies of Castlemania with the scrappy, high-wire hooks of Carrion Crawler / The Dream. Originally envisioned as two EPs, it was cut live to tape in less than a week at Chris Woodhouse's Sacramento studio in June, reflecting the battering-ram bent of the band's live show better than any bootleg ever could. "As I'm sure most would agree," explains Dwyer, "Castlemania was more of a vocal tirade. This one's meant to pummel and throb." That it does, whether one blasts the slow, speaker-bruising build of "The Dream," the sunburnt organs and dovetailing guitars of "Crack in Your Eye" or the interstellar instrumental "Chem-Farmer," a perfect example of what happens when one takes a well-oiled machine-a gang of rabid road warriors, really-and adds a second, groove-locked drum set to the mix. To listen is to realize that Dwyer's music is as manic as the underground comic inclinations of his artwork; colorful and confusing in a way that's more than welcome. It's downright refreshing, like a slap in the face at 5:00 in the morning. Or, as Dwyer puts it, "You have to leave a mark somehow."

Demetrio Castellucci and Massimo Pupillo present the music of Sleep Technique, a performance by Dewey Dell inspired by the Chauvet cave and its ancient cave paintings.
The music comes to life anew on record, an immersion into the depths of sonic particles, moist electroacoustic rhythms, the repeated forms of speleothems, and the electric bass that scrapes the walls, shaping them into concave or convex surfaces. A voice that moves incredibly slowly, yet is in constant motion, like the millennia-old, unceasing erosion of water.
The album’s journey follows the geography of the cave in reverse, moving from its deepest chamber back to the entrance.

Demetrio Castellucci is a composer and sound designer who has been involved in theater productions, choreography, and film since 2004. Around the same time, he began performing as a DJ, favoring an omnitemporal approach geared toward dance that transcends musical genres. Since 2006, he has been a member of the dance company Dewey Dell, and since 2007, he has been active as Black Fanfare, a maximalist electroacoustic project. He has collaborated on performances by Andreco and Enrico Ticconi/Ginevra Panzetti, as well as on films by Ahmed Ben Nessib, Beatrice Pucci, and Ilaria di Carlo. After living in London and Berlin, he settled in Vilnius, where in 2018 he founded Unarcheology, a digital platform that publishes music and radio programs. He is also active as Airport Gad, an ambient project which, together with Unarcheology, launched its own “Airline Company”: concerts in a flight simulator built from cardboard, where the pilots are also the musicians.

Massimo Pupillo is best known as a founding member of the band Zu, with whom he has released 18 albums and performed over 2,000 live shows worldwide. He has maintained a highly open and multidisciplinary approach that has led him to work with some of the most acclaimed figures in the contemporary art world: South African photographer Roger Ballen, actors Malcolm McDowell and Marton Csokas, Romeo Castellucci and Chiara Guidi of Societas Raffaello Sanzio, American choreographer Meg Stuart, poet Anne Waldman, and Italian poet Gabriele Tinti, among others. He has collaborated live and in the studio with avant-garde musicians and composers such as Alvin Curran, piano duo Katia & Marielle Labèque, and classical virtuosos like Viktoria Mullova and Giovanni Sollima. He has also worked with some of the most influential names in the international rock scene, including Mike Patton, Thurston Moore, Jim O’Rourke (Sonic Youth), Guy Picciotto & Joe Lally (Fugazi), Buzz Osborne (Melvins), and Damo Suzuki (CAN).

In the field of improvised music, he has collaborated with Peter Brötzmann, Toshinori Kondo, Mats Gustafsson, Ken Vandermark, and Tony Buck, among others. Within the experimental music scene, his collaborations include Oren Ambarchi, David Tibet (Current 93), Thighpaulsandra (Coil), Stephen O’Malley (Sunn O))), Abul Mogard, Mick Harris (Scorn), Gordon Sharp (This Mortal Coil), FM Einheit (Einstürzende Neubauten), and many more. In cinema, he composed the score for Kirill Serebrennikov’s film LIMONOV, presented at Festival de Cannes in 2024.

Kiva, the first and only album from Royce Doherty and Paul Mac’s duo project of the same name, is a sparkling gem hiding in plain sight within the Australian musical canon. Originally released in 1997 by id/Mercury, Kiva offers up a collection of timeless queer pop songs draped in dreamy ambient, downbeat and dub sensibilities. The music is the product of a serendipitous meeting of minds between two young music obsessives who crossed paths in Melbourne in mid ‘90s. It’s also a perfect evocation of the futuristic techno-utopian impulses that supercharged the global electronica counterculture during the race towards the 21st century. “I never had these big diva plans or anything like that,” Royce reflects. “It just sort of evolved that way.”

Nearly three decades after the fact, Royce and Paul remember Kiva as a golden moment of creative synergy. “When I listen back to this album now, it’s got such a vibe and feel that’s really its own,” Paul enthused. “There's so much of our version of dub on this record. It’s beautiful hearing Royce's core song ideas stretched out to eight minutes of trippy, acid kind of moments set over slow breakbeats and stuff. It felt so fresh being able to have this elastic sound, pull songs apart and stretch them into space.”

Originally released in 1997, this CD has been gracing select chill-out rooms, and queer afters-sessions ever since. With a loving remaster by Mikey Young, this infrequent discogs pop-up is now yours to own on vinyl for eternity (born). This is a Vinyl Only Release

Taupe’s latest album release, waxing | waning delivers jazz experimentalism, ‘skronk’, avant-rock, and electronics, by the Glasgow-based trio, due out via Minority Records. Across its seven tracks, waxing | waning captures Taupe’s approach – bold and boundary pushing – shaped by a fresh shift in the band’s dynamic and compositional approach.

Taupe’s waxing | waning, co-composed and realised by its players in a studio that was once an undertaker’s premises in Glasgow, is an absolutely affirmative album, an act of cultural defiance in desperate times.

Comprising Mike Parr-Burman (guitar, bass guitar, electronics), Jamie Stockbridge (alto and baritone saxophones) and Alex Palmer (drum kit, percussion), Taupe work up a storm of skronk, free jazz and harmolodic frenzy whose closest relations include Zu, Melt Banana and John Zorn. However, waxing | waning is from its opening, stuttering blasts, an exercise in seeking out and claiming new territory, finding unique and novel permutations in which jazz, rock, electronics interbreed at breakneck pace. Here is a group determined to say and do things they don’t get to say and do elsewhere in their musical lives.

‘Lemonade Tycoon’ hits the ground skronking. It’s cubistic jazz, cumulative in its impact, avoiding the white lines of the conventional freeway, bridling, bustling, coming at you from all angles – a three way conversation of astonishing rapidity, fast track, telepathic communication – everyone from James Chance to Albert Ayler coming at you at once, before morphing in to a spidery scrawl of electronics and furious percussion. ‘Anti-Bird-Spike BirdNest’s‘ title somehow sums up the sort of mental images evoked by the music – its sheer creative disobedience, as if being chased in vain, like a delivery rider evading capture by ICE agents -– shapeshifting, assuming different shades, sprouting metal quills and, in its midsection, seeming almost to swallow itself alive, before regurgitating itself in a sublime mess.

‘Interlude (Stride)’ is not exactly ambient, more a horizontal enmeshment of percussion, drones, reverberant noise, electronics, a sonic mulch. ‘allcapsallbold' reminds of early Aksak Maboul, in its playfulness, a haywire series of short phrases, subject to mechanical interference, a complex weave of irregular rhythms, increasingly eloquent sax phraseology and caustic guitars, which land heavier and heavier. ‘Pet Boss' is the new jazz equivalent of a highly evolved, mature conversation among brilliant equals, sharp, empathetic, complementary, rising to a collective, joyful noise. On the title track, electronics descend like a shower of bright particles, intensifying in their luminosity, whitening the skies, as sax and drums kick up a tempestuous, spontaneously sculpted noise that summons the ghosts of the great free jazz players, before a dark calm descends slowly. Finally, ‘Turn Push Kick’, a burgeoning chatterstorm of electronics, before the group kicks in, at angles to one another, led by abrasive guitars, reminiscent of Sunn O))) in their ritualistic concussion, riffing, digging deep amid squealing sax and piledriving percussion.

Critically acclaimed Death Metal force TEMPLE OF VOID return with their new album, The Crawl. The caveman brawn of previous albums, namely Summoning the Slayer (2022), remains, but there’s a wider dynamic on the group’s fifth full-length album at play. Now a quartet—featuring guitarist Alex Awn, drummer Jason Pearce, vocalist/guitarist Mike Erdody, and bassist Justin Malek—the Michiganders aren’t shying away from their non-metal influences, seeking greater integration of grunge and post-punk with their brutish signature. Singles “The Crawl” and “Soulburn” demonstrate the proficiency of TEMPLE OF VOID's death-cloaked, spearheaded attack. From the high intensity of opener “Poison Icon” to the granite wall of “The Twin Stranger,” The Crawl isn’t just TEMPLE OF VOID evolved, it’s a harbinger of death metal to come. “The biggest shift for me on this record was not feeling like we had to fly the ‘death-doom banner’ as part of our identity,” says Alex Awn. “Death-doom, as a genre, gave us something to anchor our sound around when we started. It was always a reference and touchstone. At the same time, we always wanted to make sure we had our own spin on it. We’ve always been adding to the conversation, adding to the genre, giving our point of view. A huge part of what makes a Temple of Void record is the non-death-doom influences that make up our DNA. And on album five we never once asked ourselves, ‘Do we have enough death metal? Do we have enough doom metal?’ We simply wrote a heavy-ass record—let the chips fall where they may.” For lyrics, Erdody built on the psychology and fear themes of Summoning the Slayer. The overarching theme of The Crawl is, put rather simply, an “allegory about life, choices, and consequences.” It’s a qualitative view on the horrors of the human condition and the contemplation of our monstrous capabilities. “The Twin Stranger,” for example, is about being stalked by a person’s doppelganger; “Godless Cynic” draws on a short story by sci-fi author Harlan Ellison; and “Poison Icon” tackles the crushing effects of mankind’s intrinsic nature to deceive and control.

The Sound of Hardstyle Vol. 2 – The Anthems marks the long-awaited return of the iconic vinyl series, celebrating the most unforgettable anthems that defined an era. This exclusive release features monumental tracks like ‘Scrap Attack’ by Headhunterz, ‘Lost In Dreams (Alpha² Remix)’, and Alternate Reality, the legendary Qlimax anthem by Brennan Heart.

Each groove on this vinyl takes you back to a time when anthems weren’t just tracks, they were moments that united crowds, shaped festivals, and pushed the boundaries of the Hardstyle sound.

Whether you’re a vinyl collector or a true Hardstyle devotee, The Sound of Hardstyle Vol. 2 – The Anthems is a must-have piece of history.

In Mikey’s own words, ““Myths of the MediterrAlien” is a high-octane voyage through a universe where ancient cultures collide with futuristic visions.” For him “the MediterrAlien is a hybrid character who drifts between mythology and outer space, carrying fragments of both history and hyperspace into the club.” Across four explosive tracks, the EP reimagines deconstructed club and experimental bass through a fast, hyper-energetic lens. Each piece feels like a different chapter in the MediterrAlien’s journey, spiralling through cosmic turbulence, touching down on ancient shores, and refracting tradition through the intensity of a distant galaxy.

Designed for the late-night fringes of the dance floor, Myths of the MediterrAlien is both a personal mythology and a sonic wormhole—bridging the universe where Jensen Interceptor’s comes from with where his imagination is heading next.

All tracks written and produced by Jensen Interceptor. Master by Carlos Nascimento at Qualia Audio Lab. Artwork by Conhecido João & Diogo Vasconcelos

2026 Repress


Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released in 1993 on Point Music it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With revisits this first compilation for a new gatefold double vinyl version and a triple-fold digipak CD reissue.

Both versions of Be With’s 2021 reissue of Another Thought have been mastered by Simon Francis and the vinyl cut by Pete Norman. The original artwork has been restored and tweaked at Be With HQ for the gatefold sleeve and the triple-fold digipak, with the essential help of Janette Beckman. Each version comes with an insert reproducing the liner notes and lyrics from the original CD release.

Together with Calling Out Of Context, Soul Jazz’s World of Arthur Russell, and much of the ongoing work of Audika, Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact we’d argue it’s essential for any fan of non-obvious pop music. This is the only place where you can hear some of Arthur’s most recognisable tunes and it’s an album that absolutely deserves to be kept in press.


We’ll assume that by now you’re all at least a little familiar with the story of Arthur Russell, the farm boy from Iowa who moved to 1970s New York. Arthur Russell the genuine musical genius who died just 40 years old, leaving behind a wealth of music that dwarfed the few 12"s and LPs that were released during his short life.

Although Arthur had been working on an album for Rough Trade during his last years, with the label no-longer operating it was Point Music (Philip Glass and Michael Riesman’s label set up together with Philips) who stepped in to help Arthur’s partner Tom Lee start working out exactly what Arthur had left behind.

Tom suggested that Arthur’s friend Mikel Rouse was the right person to make the first catalogue. Working in Tom and Arthur’s apartment he had only two weeks to go through what turned out to be around 800 tapes.

As Tom explained “at the end of each day he would generally wait for me to come home and I would, to the best of my knowledge, name and identify pieces in question from that day’s work. As he worked Mikel compiled about a dozen cassettes that he thought would present the most finished sounding songs for Don/Point to use. As Don listened he would then suggest and ask me and thus we collaborated on the choices.”

Don is Don Christensen, Another Thought’s producer. With a final selection of songs from recordings made between 1982 and 1990, including sessions with some of Arthur’s regular collaborators Peter Zummo, Steven Hall, Mustafa Ahmed, Elodie Lauten, Julius Eastman, Jennifer Warnes and Joyce Bowden, it was then Don’s job to turn these into a finished album.

Another Thought is a little different from the compilations of Arthur’s music that came out since. In our conversations with Steve Knutson (who founded Audika Records and who manages Arthur’s estate together with Tom), he explained that “more than any project released by Arthur during his lifetime or posthumously by Audika, ‘Another Thought’ is the most worked over. The material was significantly edited and rearranged from the original source tapes”.

If the aim was to release a comprehensive exploration of every facet of Arthur’s music, from the most avant-garde of his avant-garde compositions through to the most disco-not-disco of his disco-not-disco tunes then the project was a spectacular failure. But as a coherent album of non-obvious pop music Another Thought is wonderful.

Starting with the sparse voice-and-cello of the title track, A Little Lost adds some guitar along with the sneaking suspicion that we’re listening to something nowhere near as simple as it first sounds. By the time we get to This Is How We Walk On The Moon - it could be the moment you notice the congas, or the percussion that’s been building behind them, or maybe it’s that blast of trumpet and trombone - we realise we’ve gone from splashing around to being completely submerged in the musical world of Arthur Russell.

From here the album heads off on its journey around the sounds of the left-field contemporary classical music of the time, re-directed towards pop ears, with minor detours through the swirling woozy disco of the half-remembered night before on In The Light Of The Miracle and My Tiger, My Timing. Whether it’s just Arthur, his cello and some bleeps on Just A Blip, or whether he has some vocal help as he does on the bounding Keeping Up, this is difficult music made so, so easy. And through it all is Arthur’s voice and cello. Sometimes drowned in distortion and sometimes clear as a bell, but always there somewhere.

A Sudden Chill finally returns us to the calmer waters we started in and this last track closes the album with a melancholy that’s not surprising given how soon after Arthur’s death the album was put together.

Whilst Another Thought holds together with the consistency of a proper album, there’s still no getting away from the fact that this was put together from audio recorded in different ways, in different places, with different people at different times. Those with keen ears will hear traces of tape hiss, the occasional blown-out note and some digital fuzz, all fingerprints of those original recordings as well as of the 1990s digital equipment that was used to piece Another Thought together.

Add to this Arthur’s obvious pleasure in making music from the sort of sounds that can make microphones, speakers and ears uncomfortable, it’s no surprise that Another Thought isn’t glossy and pristine. Don Christensen’s productions have been careful to not scrub up those original recordings so much that they lose their original vibe, understandable given that Arthur wasn’t around as a guide. We’ve applied a similarly light touch with the mastering for these Be With versions, just working to make sure they sound like they should on both the vinyl and the CD.

Despite the Discogs rumours, Another Thought was never originally released as an LP. So when it came to the sleeve for this Be With vinyl version we took the original CD artwork as a starting point to come up with something that looks like it could have been in the record racks back in 1993.

We have to thank Janette Beckman for helping us reproduce her iconic photograph of Arthur in his newspaper boat hat. One of many photographs she took of Arthur, Janette shot this in her New York studio back in 1986 for a short article in the January ’87 issue of The Face Magazine. Those with eagle-eyes will notice we’ve used an ever-so-slightly different shot from the one that appeared in The Face and then again on the original cover of Another Thought. The original has long since been lost so we’ve worked with what is left in Janette’s archives. And we also have to thank Tom Lee for giving us permission to reproduce his liner notes from the original CD booklet, together with Arthur’s lyrics.

Chicago legend K. Alexi returns to Dark Entries with K.A. Posse’s Strkes Again, an EP of preleased unreleased acid and house mayhem. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began to write songs and hone his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.”

Dark Entries previously reissued Shelby’s debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Strikes Again brings us six tracks recorded in Chicago between 1988 and 1990, which come courtesy of Mike Dunn’s personal archive. This record showcases the rawer, more immediate side of Shelby’s sound, with tracks full of overdriven 808’s, careening sirens, and dangerously funky breakbeats. “Imported Taste” brings Shelby’s signature deep pads to the front of wild congo-laced percussion. “Suckas Be Ready” is a slamming hip-house cut featuring vocals from MCD-TA, while disco-samples duel with crunchy 909s on the jacking “Muzic Box.” Strikes Back showcases the real underground sound of Chicago, where sonic abstraction meets full-body kinetics. The record comes housed in a retro-styled sleeve designed by Eloise Shir-Juen Leigh.

For years, L.A.’s David Jasso and the UK’s Mike Vest walked separate but parallel routes through psychedelic noise rock—two genre outsiders pulling the music toward raw instinct, intensity, and sonic extremity. Their paths kept echoing each other, from their own projects and collaborations—most notably through their work with key artists in the Japanese psych underground—both speaking the same volatile language of improvisation and avant-garde abrasion. A collision wasn’t just likely—it was inevitable.
This ethos and commitment to raw, volume-overdosed psych rock led to this new collaboration. Rather than deliver the expected heavy psych freakout, they opted for something more direct and confrontational.
The result is Non Violence and the album “Lifted Curse,” a six-track blast of noise rock focused not on mysticism and psych tropes, but on psychological depth. The album rips through raw male emotion: fraternity, loss, carnal impulses, mental states. Jasso’s lyrics read like an unfiltered journal mid-burnout; Vest’s swirling, savant-garde guitars create tension with Jasso’s own guitars; and Sned’s rocksteady grooves form a fistfight of harmony and dissonance.
Together, this new power trio carves out a new sonic language—heaviness rooted not in posturing, but in realness and weight: fragility, weakness, and the human efforts forged to break out from it. Non Violence is noise rock with an unironic violent aim in the physical dimension—a new conversation in a familiar space, where vulnerability hits harder than distortion and conviction outweighs myth.
David Jasso — Guitars, Bass & Vocals
Mike Vest — Guitars, Bass & Mix
Dave Sneddon — Drums

Alex Rex, the project of acclaimed musician and former Trembling Bells bandleader Alex Neilson, is set to release his fourth and final studio album, The National Trust, on March 28th. Written in the wake of the sudden death of his younger brother, Alastair, the album is a poignant reflection on loss, love, and renewal, deeply rooted in the landscape of Carbeth—a cabin community in the Scottish countryside that Alastair called home. For Neilson, the cabin became both a physical and emotional project, a symbol of restoration and reconnection.

"For the first four years after Alastair died, his cabin lay empty and exposed to the remorseless Scottish weather. It came to look like a rotten tooth in a beautiful mouth. Cladding was dropping off its veneer, the ashen baubles of dead wasps nests clung to the rafters, all his possessions were just as he'd left them but eaten by mice, moths and time. Ashtrays still carried the crushed centimetres of his old tab ends. The cabins are so joyfully animated by their host's specific personality and this one looked like a haunted house. Guilt, unrealised hopes and encroaching nature yoked together in a wandering sadness. Combined with the fact that I didn't know the right way round to hold a hammer made the project of its restoration seem hopeless.”

Neilson, however, gradually began chipping away at the task, determined to transform the cabin into something he hoped would resemble “a National Trust site occupied by a psychopath,” with a little help from some friends, including Lavinia Blackwall and Marco Rea.

“They poured love into the cabin and helped restore Alastair's original vision. The project also helped restore my relationship with Lavinia which had fractured after Trembling Bells broke up in 2017. Alongside long-term Rex lieutenant Rory Haye, we applied the same intensity of dedication that we did in renovating the cabin, into creating The National Trust.”

As with Neilson’s previous albums, the recording process was intentionally unpolished, with songs presented in the studio with no rehearsals and captured in just a few takes. This raw, immediate approach amplifies the emotional weight of the album, which Neilson describes as being at a “personal apex of sour self-reflection, mock misanthropy, and self-exposure.” Longtime collaborators Lavinia Blackwall, Marco Rea, and Rory Haye return, alongside guest musicians like Jill O’Sullivan (Jill Lorean) and Trembling Bells guitarist Mike Hastings, to bring Neilson’s vision to life. The result is a deeply personal and multifaceted work, blending acid wit with haunting introspection.

The songs on The National Trust traverse a wide emotional and thematic range. The title track opens the album with a sharp and confessional edge, exploring love, loathing, and cultural critique with Neilson’s signature wit. “Boss Morris” pays tribute to the all-female Morris dancing troupe that reinvents British folk with vibrant energy, while “Two Kinds of Song” turns self-referential humour into an avalanche of remorse, culminating in the unforgettable chorus: “I’ve got two kinds of song. Which one will it be; one where I hate myself or one where you hate me?” Elsewhere, tracks like “Psychic Rome” draw from the decadence and hysteria of ancient Rome, while “The Coward in the Tower” breaks new ground as the only song Neilson has composed on an instrument before recording.

Throughout the album, Neilson’s lyricism is as vivid as ever, transforming personal tragedy into poignant and often darkly humorous art. Yet, there is a sense of finality to this work. "Songwriting has encouraged me to see the whole world as a resource. The things people say and throw away can be chiselled and polished and plopped into a lyric. It’s the same with building the cabin- scouring the edges of society for pallets, discarded wood, ornaments for the garden. But while song writing brings to life orphaned parts of my personality, the cabin is a synthesis of all my interests – nurturing my emotional health instead of exploiting it. With that in mind, I think this will be my last album as Alex Rex.”

With The National Trust, Neilson closes a significant chapter of his career, blending masterful musicianship with deeply personal storytelling. Known for his collaborations with artists such as Bonnie "Prince" Billy, Shirley Collins, and Current 93, as well as his decade-long tenure leading the psych-folk outfit Trembling Bells, Neilson has long been celebrated for his eclectic and uncompromising vision. This final album serves as a fitting culmination of his journey as Alex Rex, capturing the essence of his artistry while offering a profound exploration of loss, renewal, and the enduring power of love.

(make of that what you will). FIG DISH were four high school friends: guitarists/ vocalists Rick Ness and Blake Smith, bassist/ vocalist Mike Willison, and drummer Andy Hamilton. In their day (a day that began in the late Winter of 1991 and ended in the early summer of 1998), they were known for catchy songs, memorable (often booze-fueled) live shows, and self-sabotage. In July 1995, FIG DISH's debut That's What Love Songs Often Do was released. And just like that, the band was catapulted from regional obscurity into national obscurity. MTV played the video for the band's first single, "Seeds" and FIG DISH toured the U.S. and Canada relentlessly with bands like Veruca Salt, The Muffs, Letters to Cleo, Juliana Hatfield, Local H, and The Rentals. In 1997, their sophomore album When Shove Goes Back To Push , was sunk by a risque music video for the single "When Shirts Get Tight" Featuring adult film stars that MTV refused to play and the band was dropped by an indifferent Polygram Records in the summer of 1998. FIG DISH returned from hibernation in 2024 with two sold out shows in Chicago and the release of Feels Like The Very First Two Times, the band's first "new" release in 27 years, collecting unreleased tracks recorded in the late 90s. On August 1, 2025, Forge Again Records reissued That's What Love Songs Often Do on vinyl for the first time, 30 years after the original CD release. The officially licensed 2xLP features white vinyl, reworked gatefold jacket art by Wall of Youth and vinyl mastering by Carl Saff. FIG DISH celebrated the 2025 re-release with live shows in Chicago and Milwaukee with old tour-mates Letters to Cleo and capped off the year with shows in Kenosha and Chicago with Local H and Fountains of Wayne.

KIK is the new project of two core strategists of sonic enigma HHY & The Macumbas: Jonathan Uliel Saldanha & João Pais Filipe. Ditching acoustic instruments in favour of drum synthetics & tightly controlled sound design, the duo's debut album NIGHTSHIFT focuses on off-kilter club tracks that thwart 4-on-the-floor flavours whilst maintaining trance-inducing extended cycles. If the devil is in the details, this is all about the spectromophology of the details.
Beginning with moving morse code blips in an odd time signature We Can't Dance announces the characteristic unlife of the album's pulse. Once the kick enters, syncopations progressively accumulate into a weave of interacting rhythmic lines. Smoke Machine's groove is reminiscent of the riddims Saldanha explores in his HHY & The Kampala Unit, adding scintillating pads and snippets of blitzed out laughter.

The album's third track, Proff, hearkens back to the initial pulse, displaced and pitched down in register. Here's a more meditative temperament on display, where the regular geometries of the club have been moved into higher-order structures. Segments rise & fall into earshot. Deepening the meditative mood, Back Room explores a short melodic leitmotif anchoring the track's wander- lust.

The rhythmic assault continues in Tactical Gear, bringing further experiments into polyrhythmic contours exacerbated by preci- sion movements of echo & delay. Limping can be heard as a what-if sonic fiction taking Autechre-inspired abstractions through Durbanoid Gqom terrains. The album closes with its longest track, Night Shift, that segments into shifting sound worlds.

Drawing from industrial grit, cybernetic percussion and the eerie fluorescence of after-hours energy, NIGHTSHIFT exists in the liminal space between body music and abstraction——a soundtrack for phantom warehouses and malfunctioning machines. This isn’t just music; it’s an immersive sonic environment, a journey into the heart of deconstructed dancefloors.
For fans of Rian Treanor, Proc Fiskal, Jlin and Lorenzo Senni.

Most recently, HHY has been collaborating with Nyege Nyege through projects such as Kampala Unit and Arsenal Mikebe, performing live with the ensemble alongside Valentina Magaletti, and producing records for artists like Fulu Miziki, as well as collaborations with Phelimucasi, Rey Sapiens, Kingdom Choir and others. He also released Camouflage Vector: Edits From Live Actions 2017–2019 on the label, a live album featuring two tracks with Adrian Sherwood.

Previous collaborations include Tunnel Vision with Badawi (released on Tzadik), the HHY & The Macumbas album Beheaded Totem on House of Mythology, and Fujako (Wordsound, with MC Sensational), along with double-bill shows with acts such as Clipping and Death Grips.

Vintage recording equipment has long been a bit of a fetish, but to sound pioneers Voka Gentle, even the most magical machines are a means to an end. The band, made up of twins Ellie and Imogen Mason, along with Imogen’s husband, William J Stokes, are a family band in the truest sense. Whilst they started as a folk trio, their new album Domestic Bliss is an album of throat-grabbing, avant-garde indie rock songs studded with eccentric choices: a synth with its keys jammed, playing a tune of its own making; field recordings – Morris dancers, motorbikes – captured on binaural headphones.

Domestic Bliss is concerned with power: the abuse of it, being on the cusp of it, and what it really means. The album is
teaming with imaginary people in picaresque scenes that reveal the band’s rich cultural storehouse. The songs draw on history, literature, everyday life and pop culture references (specifically Jude Law’s 1995 Vogue cover), with tracks like Cheddar Man reflecting on climate change and prehistory and Creon I tracing the unease of authority through the lens of Greek mythology.

Recorded in the orchestral studios of City University, the album folds intimacy into scale, from phone-recorded vocals and samples of breath to heavy, tribal electronics in grand acoustic spaces. The result is by far their most refined record yet, where the band treat the recording studio like an instrument.

Back when the first white labels started floating through the hands of German, British, American and Canadian DJs in late ’84, nobody was ready for what was coming. The official drop hit in early ’85 and the scene was never the same again. This was the moment Mike Mareen broke through the static. Yeah, he’d been working with Chris Evans-Ironside since the ’70s but nothing hinted that together they’d channel something this futuristic. “Dancing In The Dark” sounded like it had slipped through a wormhole: melancholic, hypnotic vocals wrapped in vocoder haze, riding an arrangement so razor-sharp it made most releases of the era feel prehistoric. It didn’t need the pop charts… It owned the clubs. And the clubs listened.

London. Berlin. Madrid. Rome. Paris. Lisbon. Amsterdam. Athens. Toronto. NYC. Tokyo. Mexico City.

One drop of that electro bassline and DJs were hooked. Crowds were hooked. The whole underground was hooked. Soon Europe’s radio charts caved under its pressure, and the track crossed borders on mixtapes, becoming a cult anthem behind the Iron Curtain. It was everywhere, even where it technically wasn’t allowed to be.

Fast-forward four decades and the spell hasn’t faded. “Dancing In The Dark” still shows up in indie dance, italo wave, house and deep house sets. Producers keep re-editing it like it’s sacred material. It’s one of those tracks that DJs treasure, a timeless weapon, one of the top three defining singles of Mareen’s entire career.

And now for the 40th anniversary of its official release, Vintage Pleasure Boutique and Night’n Day Records drop the vinyl every collector and selector has been waiting for: a special reissue loaded with four brand-new remixes spanning the full spectrum of today’s underground indie/disco/italo/house energy.

Tallac – the American Berlin dweller – dives deep into the hypnotic soul of the original, pulling out its buried deep-house DNA and carving out a spacious, emotional roller.

Luksek, Italian producer & DJ, goes raw and dirty: loop-driven, gritty, underground, hypnotic, the kind of edit that eats dancefloors alive.

Flemming Dalum, the Danish Italo grandmaster, finally gets to remix the track he’d always dreamed of touching and of course it’s pure Flemingish electro-italo magic.

And the Polish sparkle: A.P. Mono delivers a shimmering mix of italo disco, glitterbox groove, disco glamour and synthwave glow, all while keeping the spirit of Mareen’s original heartbeat intact.

The wax also features two historical heavy-hitters: the 1985 Jens Lissat’s team remix and Luis Rodriguez’s original arrangement, essential cuts in the Mareen universe.

This release isn’t nostalgia. It’s a resurrection. A celebration. A reminder. “Dancing In The Dark” didn’t survive 40 years by accident, it survived because it still moves bodies, breaks hearts and lights up floors in ways modern tracks can only wish for.

If you’re an indie, italo, wave, house or disco DJ… This record isn’t just worth owning… It’s mandatory.

Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS), release date 2024-10-24. After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo’s #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside.

One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band’s more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams’ love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow.

Speaking to the history & the inspirations behind the album, Abrams offers: “We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school.” Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon.”

The core NIS ensemble heard on Perseverance Flow always address Abrams’ writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams’ invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time.

Refracting the band’s signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once —”energetically nutritious” (October 2025 Issue 500 The Wire) supernatural information society.

“Perseverance Flow is skipping rope in slo-mo. A dance of co-operation to rally guts & humors & keep marching through pouring tears” (Abrams).

'The World in Air Quotes' is a genre-shifting style-melting kaleidoscope of art-rock, jazz, techno, folk & industrial. The God In Hackney sound like very little else from the early 2020's and whilst 'The World In Air Quotes' innovative progenitors are manifold - Eno, Coil, The Durutti Column, 1980s ECM jazz to name a few - it sounds beholden to none of them.

The God In Hackney's first album 'Cave Moderne' was Andrew Weatherall's album of the year for NTS Radio.

The God In Hackney's second LP, 'Small Country Eclipse', was album of 2020 for critic Sukhdev Sandhu of The Colloquium for Unpopular Culture: "Mordant music: stuttering, dread, black humour. A record that felt truly independent, beholden to no genre, out of step with all centres and signposted nodes."


'The World In Air Quotes' is The God In Hackney's 3rd album and their most musically emotive and lyrically inventive to date. It's an album that resonates with feelings about climate change, isolation, extinction, the social impact of technology, the flattening of history—and illuminates the darkness with imaginative rhythm, melody, noise & poetry. Songs range from widescreen, anthemic rock, to strange intricately arranged jazz-influenced songs, to abstract, textural electronic pieces. There's a strain of dark and surreal comedy too that runs through the lyrics and some of the choices the band makes in their sounds and arrangements.

The core God in Hackney quartet of Andy Cooke, Dan Fox, Ashley Marlowe and Nathaniel Mellors has expanded to include American multi-instrumentalists and composers Eve Essex (Eve Essex & The Fabulous Truth, Das Audit, Peter Gordon & Love of Life Orchestra, Peter Zummo, Liturgy) and Kelly Pratt (Father John Misty, David Byrne/St Vincent, Beirut, and Lonnie Holley among many others), signalling a new and ambitious direction for the band.

The album cover features original artwork by Iranian-American artist Tala Madani, recently the subject of a career survey exhibition at the Museum of Contemporary Art, Los Angeles.

Advertising:

The Wire, Maggot Brain

Reviews & features:

Maggot Brain - forthcoming feature

Hi-Fi+ Magazine - album review in April 2023 issue

Dereck Higgins (You Tube review)

Sonosphere - interview / feature

Weirdo Shrine - interview

It's Psychedelic Baby - interview

Spettacolo (Italy) - feature.

Ghettoblaster Magtazine (USA) - feature

Airplay:

Gilles Peterson - BBC Radio 6 Music

Steve Lamacq - BBC Radio 6 Music

Dublab - playlisted & featured in Dublab Recommends (Los Angeles)

Cian Ó Cíobháin - RTE Raidió na Gaeltachta (Ireland)

WFMU - playlisted

Resonance FM - The Wire presents Adventures In Sound & Music

Human Pleasure Radio (New Zealand)

Pete Wiggs & James Papademetie - The Seance (Repeater Radio, Sine FM & others)

Peter Hollo's Utility Fog - FBI Radio (Australia)

Jonathan Lethem & Sam Sousa on Radio Free Aftermath (KSP Claremont 88.7)

Life Elsewhere

WRPB Princeton

In Memory of John Peel

Mike Watt's Watt from Pedro Show

HOUSE BY THE CEMETARY, the 'supergroup' led by former MONSTROSITY and VILE frontman and current artwork artist Mike Hrubovcak and Rogga Johansson from PAGANIZER and RIBSPREADER are releasing their third full-length, "Disturbing The Cenotaph". Since the duo, completed by former THE PROJECT HATE drummer Thomas Ohlsson, originally picked up their moniker as an homage to the 1981 cult horror flick of the same name, it shouldn't come as a surprise they've once again paying tribute to director Lucio Fulci (1927-1996) in one of this album most lethal salvo, 'New York Ripper'. Elsewhere on this third album, other tracks like 'Undead Apocalypse' or 'Burial Disturbance' were inspired by other famous horror classics like "Night Of The Living Dead" and "The Texas Chainsaw Massacre", Hrubovcak has come up in his lyrics with his own tales of terror. Some are totally fictional like, 'Coffin Colony' about a "diseased homeless living in underground coffins who gets infected with rabies after eating sewer rats". Others, like 'Lunatic Butcher' are inspired by real-life events or, in that case, by the antics and vicious killings of Paul John Knowles, dubbed 'the Casanova killer'. Musically speaking, Johansson jokes about "every band saying that their new album is their best but that's actually true here eh eh! This album is HOUSE BY THE CEMETARY on steroids. The sound is broad and impious, the vocals are awesome and the heavy riffing interlaced with occasional melody makes an overall varied, fun and GORY listen!" Completed, like on 2024's "The Mortuary Hauntings", by a gruesome artwork courtesy Felipe Mora (whose nightmarish visions can already be seen on albums by CONSUMPTION, ACHERON or WOMBBATH) and mixed by Håkan Stuvemark from WOMBBATH, Disturbing The Cenotaph is one raw, in-your-face and eight songs packed death-metal-to-the-core album ready to chill you to the bone!

LIMITED 300 ONLY TRANSPARENT SKY BLUE LP. HOUSED IN FULL COLOUR SLEEVE WITH POLYLINED INNER BAG & DOWNLOAD CODE
Two fields of existence collide as Nolla (Finnish psych/space rockers) & Mike Vest (Maximalist guitar guru, Bong, Blown Out, Drunk In Hell, Artifacts & Uranium, Modoki, Tomoyuki Trio, Mienakunaru etc) merge their creative visions for the third time.

Creating a steady and surreal exploration through astral planes. Nolla improvised the ground layer in their signature minimal space-rock style and MikeV wrapped everything up in lavish layers of fuzz, phased and U-Wah layered guitars.
Blending octaval tones, around an array of electronics & vocal harmonies. Resulting in a constant trance like psychedelic drone rock.
It's time to join the extraterrestrial communion, beyond the skies, convert into the mode of light and pay homage to his mighty eminence.

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before. Gangster Doodles himself puts it best: "It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

Selfish Machines, the second album by Pierce the Veil, explores themes of love, longing, and self-awareness through a blend of post-hardcore energy and melodic intricacy. The album features standout tracks like "Caraphernelia," which includes guest vocals by Jeremy McKinnon of A Day to Remember, and "Bulletproof Love," a fan favorite known for its dynamic instrumentation and heartfelt lyrics.Produced by Mike Green (Paramore, All Time Low), this record showcases the band’s technical skill and ability to balance intensity with softer, emotive moments. With its layered arrangements and polished sound, Selfish Machines offers a thoughtful take on the complexities of human emotion.

Lorelle Meets The Obsolete return with their seventh album. It's the Mexican duo's finest, most ferocious work to date which sees them turbo-charge their psychedelic post-punk with a new electronic engine. Mixed by Antoine Goulet (live sound engineer for SUUNS) and mastered by Mikey Young (Eddy Current Suppression Ring), the most obvious comparison in terms of mood and mode is Primal Scream's classic XTRMNTR, another record that processed personal and political conflicts and spat them out as distorted dance music. It shows the influence of the duo's DJ sets and last year's radical Remezcla remix collection on their way of thinking and why they are now namechecking the likes of Moor Mother, MF DOOM, Patrick Cowley, The Bug, Paula Garcés, Phil Kieran, Coby Sey, Run the Jewels and Anadol."Playing other artists' music is different," says Lorena Quintanilla about the change of direction towards the dancefloor. "You're not just listening, you're watching how energy flows and how it affects other people. It gives you the chance to witness what moves other bodies." And Corporal, as the title suggests, is all about the body. "The body is what carries the weight of stress, exhaustion, sadness. It's the body that the system breaks first," explains Lorena. "Unintentionally, while composing the album, our bodies were seeking joy in the songs. Reconnecting with pleasure became a way to open new dimensions - a way to escape, yet remain present." The theme is carried over into the lyrics which, according to Lorena, variously refer to "the bodies that disappear, the abused bodies, the bodies we miss, the bodies that march together in protest, the bodies that are being controlled".

2025 Repress!

Recorded in a remote cabin on the Devon coast, STILL OUT is an album-length collaboration between musician-filmmakers – and childhood friends – Will Cookson and Tom Haverly. A reflection on friendship, landscape and the passing of time, it inspired a road trip from North Yorkshire to North Devon they took together in the summer of 2024, and forms the soundtrack to a film of the same name which had its premiere screening as part of Stroud Film Festival in March 2025.

Like the film, STILL OUT is also an oblique homage to The KLF’s iconic 1990 album Chill Out, which the Gloucestershire-based pair revisited after it turned up unexpectedly a few years back in Tom’s dad’s record collection. Inspired to create their own recording using a similarly free-spirited process, Will and Tom relocated to the Devon coast in late summer 2023, splicing together a 40-minute mix from their personal archive of recordings and found sounds in a remote cabin with no electricity or mobile reception.

"It came together using cut-and-paste techniques, with ongoing shifts and tweaks,” says Will. “The final result was an audio collage that felt like something legendary hip hop producers The Bomb Squad might make - if ambient music was the only material in their sample library."

Using ‘ambient’ as a starting-point rather than an end in itself, they took inspiration from across the musical spectrum – classic-period Brian Eno, Philip Glass, Bill Evans, plus outliers such as 80s singer-songwriter Virginia Astley and the late DJ-producer Andrew Weatherall. The connections, though, are anything but obvious as the audio shifts seamlessly from field recordings and spoken-word interludes to mood pieces and snatches of vintage pop.

Edited and assembled using freely available open source programs, the source material was often radically altered using tools such as “PaulStretch”, a digital sound-morphing algorithm that allows users to stretch audio files to extreme lengths.

"When we found ourselves in a creative slump or unsure how to navigate a tricky part, we'd say, ‘Let's put some syrup on it and slow it down,’” says Tom. “That always helped us get back on track during late-night recording sessions at the cabin."

Part-soundtrack, part-meditative experiment, STILL OUT is intended as a reflection on the mental and emotional shift that occurs when stepping away from the routine of daily life – an album that forms a celebration of our ever-changing relationship to the world around us and the mystery of what it means to pass through time and space.

“The true follow up, 35 years later, to The KLF’s ‘Chill Out’”.
JD Twitch (Optimo).

An ambient journey reflecting on friendship, the British landscape - and The KLF’s landmark album Chill Out

"This record and film are just lovely. You need this in your life. Moo-Moo!” Balearic Mike (Down To The Sea & Back)

"The album is a perfect companion to the KLF classic, utilising the British countryside as the setting, occasionally reminding you that Mother Nature is not to be messed with.” Strictly Kev (DJ Food)

"A beautiful ambient journey into the landscape, taking the listener from reality to dream state and back again. A mystical realm full of mysterious chanting, rattling trains and sounds from the very depths of the earth."
Lally MacBeth & Matthew Shaw (Stone Club)

If there is one thing we at Real Gone have learned during our rollicking ride of reissuing The Donnas’ catalog, it’s that they never did anything halfway. And we’ve tried to do the same in bringing their music back to their devout fanbase. Now, by popular demand, and after years of pursuing the rights, we are thrilled to announce that we are releasing their last studio album, Bitchin’, in an expanded, newly annotated, and newly remastered edition! This 2007 release was put out by The Donnas’ own Purple Feather label, and marks a return to the girls’ glam metal and punk roots after the classic rock leanings of Gold Medal…they’ve escaped the major label machine, and are ready to have a good time! Singalong songs like “What Do I Have to Do” and “Don’t Wait Up for Me” have definitely entered The Donnas’ canon, and tunes like “Save Me” confirm that this band’s ability to set a hook in a chorus remains unabated. For this first-ever reissue, we’ve rounded up an entire side of bonus tracks, including the two songs (“Randi” and a cover of “Safety Dance”) that were only available on the vinyl release, a track (“New Kid in School”) that was previously available only as a download, two outtakes (“We Own the Night” and “She’s Out of Control”) that showed up on the Greatest Hits Vol. 16 comp, and a track that only came out in Japan (“Can’t Keep It a Secret”). The whole thing’s been remastered for vinyl by Mike Milchner at Sonic Vision, and our gatefold-plus-insert once again includes fresh commentary by Brett Anderson aka Donna A. Bitchin’ comes in a double scoop of strawberry with black swirl vinyl…we’re here for the party!

There’s a freedom in knowing we are all doomed, a sense of liberation from society’s morals and the considerations of commerce. That’s the territory trod by Sorrow on its lone album, 1992’s Hatred and Disgust. This album doesn’t bring you down, it takes you down. Down-tuned guitars, slowed- down tempos. Lyrics with a deservedly dim view of mankind. And fat as f*** riffs that will annihilate you. Finally released in the U.S. on vinyl and with the full support of the band, Hatred and Disgust comes in a blue smoke pressing limited to 1000 copies, complete with a lyric insert. If you like your doom metal with a side of thrash and death metal, this lost classic (remastered for vinyl by Mike Milchner) will satisfy like few others. Fans of Slayer, Obituary, My Dying Bride…take note.

Rome Streetz drops "Buck 50", his first offering for 2024, a 6 tracks EP entirely produced by mastermind Wavy Da Ghawd, unleash the raw essence of his lyricism. Carving once again its place in the game just like a buck 50, Rome Streetz delivers his gut-punch of gritty underworld narratives. Pressed on a single sided 12" pressed on 180g vinyl, w/ screen-printed art on the B-side, courtesy of Ral Duke.

Wounds is the band's long-awaited fifth album - their first in six years, their most eclectic and ambitious work to date. As heavy as it is haunting, the record masterfully blends doom, post-punk, and driving krautrock in a dynamic, hypnotic maelstrom - pushing London's most exciting cult band into intoxicating new territory. "Wounds is a series of songs about the different ways people live with and process 'the wounds' of their lives," explains vocalist Maya. "A strange celebration of that formative pain we have all experienced in some way. The loss and joy of survival - the celebration of finding others like us, the gift of knowing life comes after fire." Wounds was recorded by Mike Bew, on location at Foel Studio. The band could be found working deep into the witching hours, experimenting with new sounds and filling the valleys with cantankerous wails of sound, bursting from amps borrowed from My Bloody Valentine. "The Welsh countryside has a mystical quality to it," says guitarist Adam. "We recorded in a deep, dark valley; misty days and shooting stars at night. You could wander through nearby woods and stone circles during breaks. Foel Studios is woven into this setting with a transcendence of its own - its storied history includes sessions by Electric Wizard, Hawkwind and The Fall." Synths on the album are arranged by Berlin-based Bow Church, an influential figure in the dark electronic scene and a longtime collaborator of the band. His work weaves icy and atmospheric textures into the album's tracks. While meticulously crafted, Wounds captures the visceral energy of Cold in Berlin's renowned live shows. The album's arrangements and raucous sound remain true to the unrelenting intensity and atmosphere of their stage performances - every track retains the sweat, urgency, and immediacy of a band performing in the moment.

For the first time ever, the only full-length album by Spanish soul and garage legends Z-66 is being reissued. Z-66's signature blend of powerful soul, psychedelia, and pop-clearly influenced by bands like The Move, Stones, Vanilla Fudge, and Blood, Sweat & Tears delivers a bold, modern sound that remains fresh and compelling. Unlike other Spanish bands of the time, Los Z-66 enjoyed unique conditions that allowed their sound to stand out as one of the most advanced on the local scene in the late 1960s. As was the case with many other groups, their repertoire for entertaining discotheques had to include the hits of the moment and was not always open to the songs of the most daring international bands, which was the sound that most stimulated the musicians. In the case of Los Z-66, being based in Mallorca meant they had privileged access to hard to-find records, imported by foreign tourists, and to a much more modern atmosphere than in other parts of the country. Songs in Italian and French soon gave way to English hits by the Animals, the Stones, and the Beatles. But it was the offer received from Mike Jeffries, manager of Jimi Hendrix, the Animals, and others, to serve as the house band at the newly opened club Sgt. Pepper's that allowed the group to raise their live performances to a level rarely seen in these parts... They even soon incorporated the distorted sound of fuzz into their guitar when they received a fuzz face pedal as a gift from Jimi Hendrix himself, who was invited to play at the club's opening! Their excellent blend of stunning soul, psychedelia, and pop became their hallmark, not only in the band's concerts but also in the handful of singles and EPs they released on the Regal label. We are now re-releasing for the first time their only full-length album, originally published in 1969, which is actually a compilation of songs previously released in 45 rpm format, complete with two bonus tracks not included on the original LP plus a booklet with liner notes and rare photos.

f *Goodbye, Asshole* was the wild night—tequila-sharp riffs, sticky floors, and last-call chaos howled into the void of a disappearing city—then *Boone* is the merciless morning after. The sun cracks the blinds. The brain throbs. Every bad decision gleams in the hard light, raw and undeniable.

Fuckwolf’s second album pares their scuzz-wave blitz down to exposed nerves: Eric Park’s basslines stalk like a hangover pulse, Simon Phillips’ drums land like a palm slapping the alarm into silence, and Tomo Yasuda’s guitar wirings spit like diner coffee left to burn on the hotplate. The fog has lifted; the damage is inventoried. These ten tracks are crime scene Polaroids, tales of longing and woe, fresh mystery bruises and eulogies.

There’s no wallowing here, just the tight, terrible beauty of a band that’s stared down the void and come back swinging.

The party’s dead. Long live the reckoning.

Fuckwolf have been around the SF scene for a while, and it took Ethan Miller (Silver Current / Comets On Fire / etc) ages to get them to record the debut album, they then toured Japan and released a limited split mini with Green Milk From The Planet Orange. They reconvened late 2024 and recorded Boone..

This new album "Boone", polishes and extrapolates the fizzing psychedelia of their first album, and turns Fuckwolf into the heirs to the crown of mass-consumptive Sike-rock. This album is in the same vein as Mercury Rev's "Yerself Is Steam", Butthole Surfers' "Rembrandt Pussyhorse" and Flaming Lips "Telepathic Surgery", there's sheer pop in amongst the mind's eye rattling dollops of psychedelic wallop... the Koolaid was drunk and the songs were made.. plug it in, turn on...drop out.

Master by the one and only Mikey Young!!

Repress of ‘Glow On’, the 2021 Grammy nominated third studio album from Baltimore hardcore punk quintet Turnstile. Co-produced by the band themselves along with hip-hop producer Mike Elizondo, and featuring the guest vocals of Blood Orange.



Recorded with producer Mike Elizondo and co-produced by the band’s Brendan Yates, GLOW ON follows TURNSTILE’s 2018 breakthrough album TIME & SPACE, which saw the Baltimore band charting new ground for hardcore, expanding stylistic boundaries and celebrating new possibilities.



With GLOW ON that utopic vision is fully realized; 15 tracks devoid of borders, boundaries, or entry obstacles, only abundant imagination, heart, and grooves plucked from all corners of the musical spectrum. GLOW ON includes the singles “HOLIDAY,” “MYSTERY,” “NO SURPRISE,” and “T.L.C. (TURNSTILE LOVE CONNECTION) from TURNSTILE’s recent TURNSTILE LOVE CONNECTION EP. GLOW ON also includes guest features from Blood Orange on “ALIEN LOVE CALL,” “LONELY DEZIRES,” with additional vocal contributions on “ENDLESS.”



“TURNSTILE has the ability to lure even the most poptimistic listener with spectacular hooks,” affirmed NPR remarking on the band’s single “HOLIDAY,” while The FADER named the track one of the 20 Best Rock Songs Right Now. Stereogum declared, “If you’re gonna go big, you might as well go gigantic, and with ‘MYSTERY’ TURNSTILE sound like they’re about to be huge.”



Bringing superhuman energy to the stage, TURNSTILE are scheduled to perform a string of sold-out headline shows this summer in the US, followed by appearances at next year at Spain’s Primavera Sound on 6/5, France’s Hellfest on 6/23, and the UK’s Outbreak Festival on 6/24.



Always more appeal than demand, more liberation than limitation, TURNSTILE extended their hand in 2018 with TIME & SPACE. Recorded with producer Will Yip, TIME & SPACE marked Turnstile’s Roadrunner Records debut and saw the band exploding the most outsized tropes of hardcore with tremendous heart. The album earned “Best of 2018” honors from Kerrang!, The New Yorker, The New York Times, Rolling Stone, NPR, Billboard and more, with GQ naming TIME & SPACE one of “The Best Albums That Shaped the 2010s.”



Comprised of Brendan Yates (Vocals), Franz Lyons (Bass/Vocals), Brady Ebert (Guitars), Pat McCrory (Guitars), and Daniel Fang (Drums), TURNSTILE’s brand of youth-minded, youth-driven hardcore punk is intent on breaking down barriers, sonically and ideologically.

Tensal is the solo project of Héctor Sandoval, also known as half of Exium and Komatssu. Since its creation in 2014,
Tensal has become the channel for his most personal vision of Techno, blending diverse rhythms and textures with a
powerful and distinctive identity. Alongside his own imprint Tensal Ltd, he has released on some of the scene’s most influential labels, including Mord, Modularz, Perc Trax, Blueprint, Arcing Seas, PoleGroup, Float, Kynant, KR3, A.R.T.S,
Warm Up and Soma, where he delivered his first LP in 2018.

He has remixed artists such as Slam, Electric Indigo, Anthony Linell, Mike Parker, Shed, Pangaea and Shifted, while his
tracks are championed by leading DJs like Jeff Mills, Richie Hawtin, Marcel Dettmann, Ben Klock, Ellen Allien, Laurent Garnier and DVS1. His DJ sets, built largely from his own productions, have taken him to more than 60 countries
worldwide, with performances at iconic clubs and festivals including Berghain, Tresor, Awakenings and Fabrik.

Beyond Tensal, Sandoval explores different frontiers of electronic music: with Juan Rico (Reeko) he formed Komando Terrorismo Sonico (K.T.S.), releasing the album Insurrección in 2021; in 2022 he launched Syndromania on Oaks
Records, a vinyl-only project fusing Techno with Trance, EBM, Electro and Acid. In 2023 he joined BPitch Control,
releasing several EPs and performing at the label’s We Are Not Alone events, while in late 2024 he debuted on Blueprint
Records with Highland Landscapes, a collaboration with Vince Watson (Amorphic), followed by a joint EP on Mord in
2025.

DJ Support: DJ Harvey, Kelvin Andrews/ Balearic MIke (Down to the Sea and Back), Howler (Pikes/Totem Projects) Joe Morris (Shades of Sound/Pikes)

New vinyl only 4 track EP of reinterpretations on the fledgling Oswego Music label, from the mysterious Lovehandles.‘Unrequited Dub’ sees a quintessential eighties tune and Larry Levan favourite reframed as an epic 11 minute balearic slow jam- with scarce copies available digitally getting plays in recent months from Kelvin Andrews/ Balearic Mike (Down to the Sea and Back), Howler (Pikes/Faith/Totem Projects) Joe Morris (Shades of Sound/Pikes) and even Mr Harvey Bassett seeking out a copy. One for sunsets and heartbreak. Next up-‘Stars before the Sun’ is a recut of a thrift store Hare Krishna disco funk cut. WIth solina strings, drum breaks and a positive message to live for now. ‘Crystal Lites’ first on the flip; heads to the disco. Versioned here with whacked out pinging delays and reverbs. It’s been reworked before, but never like this. ‘It’s a Long Shot’ second on side two, is a 12” mix that never was- an eighties Balearic drum machine pop favourite,extended for djs. Its ethereal vocals, minor keys and spaced out fx perfect for late nights and early mornings. ‘The Drum-Set (skit)’ rounds things off here- a short and sweet reminder of the international, multiracial origins of rhythm. Perfect for mixtape intros and interludes.