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Adam Beyer continues his prolific year in the studio with ‘Robotic Arms’, his third release of 2023.

The boss continues to set the standard. Following ‘Legend’, one of the year’s standout techno tracks, we were treated to a supreme collaboration with Green Velvet ‘Simulator’.

Now as 2023 hits the halfway mark, he returns with a pair of aces. The title track is both expansive and immersive, as pin-sharp drums and a powerful chord melody rub shoulders with a vocal that references AI entering the creative space and the intriguing unknown consequences that will result. “I’m fascinated by this and curious to see how it develops, as it’s both a threat for artists, while also being an opportunity to utilise this technology when making art,” Beyer shares.

‘No Hate’ is the perfect sonic contrast, a raw and dirty roller propelled by rhythmic percussion and a strident vocal line. A stomping ‘Trippy Mix’ of ‘No Hate’ rounds out the release.

ONE OF THE RAREST MAINSTREAM ALBUMS FEATURING CLASSIC ATCQ SAMPLE GETS REISSUED FOR THE FIRST TIME ON VINYL

Jack Wilkins' highly sought-after Mainstream Records album "Windows" finally gets reissued on vinyl on Wewantsounds forty five years after its inital release. Produced by Bob Shad in 1973 the album, which is on many collectors' want-list, is especially cult for his rendition of Freddie Hubbard's classic "Red Clay," sampled by A Tribe Called Quest on ("Sucka Nigga") and Chance The Rapper. The album will be released in a deluxe gatefold sleeve featuring never-seen session photos and new liner notes by leading UK journalist Kevin Le Gendre.

Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the new Iliads series is to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This second in the series pays homage to the unique sound of the Mirage releases. The influence of these releases on the SD sound that followed has often been overlooked, principally because it was assumed that the ‘Mirage’ moniker was simply another pseudonym for Source Direct, when in actual fact it was a lethal combination of the powerful engineering and arrangement skills of Jim Baker (Source Direct) and the sound selection and co-production of Odysee’s founder, Tilla Kemal (T-Mirage).

Face In The Shadows immediately opens with that slightly darker feel, with tracks like Feel My Dreams and Stonekiller in mind. The trademark SD style of break switches (aptly named ‘call & response) are immediately evident, although the Funky Mule gives the track its primary momentum. The sound selection is eerie, focusing on the 70’s Film-Noire, and deep Electro in line with Tilla’s particular preferences. The spoken word quotes are also unmistakably ‘Mirage-esque.’

Regenesis is a classic Odysee B-side track; lighter, more experimental and Jazzy in it’s feel. It showcases intricate and crisp rolling break work, and a beautifully refined selection of real stand- out musical quotes; from the sweet R&B-esque vocal ad-libs to the lush 70’s style sleaze of the Rhodes rolls. The interaction of these elements is the glue that holds this tune together.

The Darkness Within is the final track of the E.P. and it is the arrangement of samples that really emulates the ‘Mirage’ sound. Tilla & Jim were very particular about grouping sounds to work with & answer each other in each section of a tune. Samples were often sourced from obscure Film OST’s or rare electro albums which had sample diggers scratching their heads for many years! This track is dubbed out deeper, with a punching & rolling Soulpride features as the hero break and a repetitive deep chord stab forming the foundation of the tune.

Look out for the final instalment Volume III, where we will be focusing on the dystopian Jazz sound of the Hokusai releases!

The influence that 80s gay nightlife had on electronic music, pop music in general and the evolution of clubbing for
subsequent generations is pretty much incalculable. In spite of the shadow of AIDs and reactionary political and media
forces both at home and in the USA, the period 1980 – 1990 bore witness to a dazzling explosion of dance music that
artfully drew a line from the peak of late-70s disco to the emergence of house and its 90s glory days. The art of the
12” single, the thrill of the remix, the rise of the superclub, the electronic spark of chart pop, the challenging of gender
barriers… all had their origin in the gay clubs. It’s not unreasonable to make the claim that by the end of the 80s,
virtually ALL chart pop music sounded like it had its origins on the dancefloors of Heaven nightclub!
Over 4LPs and 24 tracks, ‘Box Of Sin’ strives to tell the story of that decade, and to tease apart the strands of 80s gay
clubbing to show a period of unrivalled creativity and disco diversity. Via the box’s themed discs it shows how highenergy became house, how gender-bending synth bands took over the pop charts, how pop stars the whole world
over found a route to fame via the gay clubs, and how the era’s biggest producers aimed their masterworks purely at
the dancefloor. High energy, deep house, Eurobeat, synthpop, divas, acid house… all combine to paint a picture of a
rich and vibrant lifestyle. Along the way, ‘Box Of Sin’ unearths some overlooked gems rarely compiled today:
meanwhile some of the decade’s biggest names in club music gather to get into the picture – from Whitney Houston
to Dead Or Alive, Bananarama to Bronski Beat, Aretha Franklin to Inner City.
Based on the actual club charts at the time and with a stunning design package inspired by the small ads section of
80s gay press, ‘ Box Of Sin’ comes fully annotated and with an introduction by renowned gay author Paul Burston.
Throughout, it’s illustrated with photography documenting 80s gay clubbers in action, provided for Demon by The
Bishopsgate Institute, the UK’s LGBTQ+ archive. The project also resurrects the much-loved brand ‘Disco Discharge’, a
recognisable hallmark of quality among collectors and aficionados of club music heritage.

Tibi Dabo unveils his long-awaited full-length ‘Vista’ on Crosstown Rebels this September, with the kaleidoscopic nine-track album showcasing his diverse and rich sound palette.

Born in Barcelona, DJ, producer, and musician Tibi Dabo has proven himself adept at mixing the classic and the cutting-edge. From his early days touring Europe and the US with a band in which he plays the drums, the foundation for his experimentation for his work within the electronic sphere, he has since grown to become an exciting and much-loved DJ and producer, adding to his growing reputation as a Crosstown Rebels favourite. Stepping things up once more, his spirited new album ‘Vista’ is a perfect fusion of futuristic synths and compelling house grooves, all of which are masterfully designed and full of character. Following three well-received singles across the summer, the full-length is a complete sonic statement that explores deep house, leftfield sonics and widescreen cosmic vistas.

Opener ‘Water Is’ layers up fresh sound sources and playful melodies on nimble basslines that soon make you move. ‘Somewhere Beach’ is then a silky groove layered up with diffuse pads and aching synths that convey real romance, while ‘Licht’ is another masterful display of original drum programming with bursts of cosmic synth and elastic bass. ‘Useless Ideas’ then gets deeper on more low-key drums and bass. Instead, the focus is on the deft percussion and well-treated vocals that swirl and smudge around the mix to a woozy late-night effect.

The elegant ‘Mundo’ channels the machine soul of early Detroit techno, before ‘Mangabeira Manifesto’ featuring Dudu Bongo layers up wonky drums and bass with curling, soft acid sounds and a playful vocal line. ‘Triple Frontier’ picks up the pace and heads out on a high-speed cosmic house journey, all before ‘Overture’, another far-sighted astral trip with starry melodies and rich, rubbery bass, closes the package in fine style.

An expressive and adventurous yet coherent long player with a range of moods, feelings and grooves taking you to all corners of the house world, ‘Vista’ showcases Dabo’s most in-depth project to date and an album which provides the perfect platform for him to display his rich sonic universe.

This session, recorded at Studio Pathé-Magellan October 11 and 14, 1955 in Paris, is the first of three recordings released for the Barclay label between 1955 and 1956.

For his first recording-date in Paris Chet decided to tackle Bob Zieff’s compositions, the same ones that Dick Twardzik had picked up in a hurry at the Alvin Hotel on his way to board the liner Ile-de-France. Violonist Dick Wetmore had just recorded the eight tunes, and Bob Zieff had had just enough time to revise the arrangements. Chet neither a champion sight-reader nor a big fan of rehearsals, hadn’t yet played them in front of an audience. From that first French session only the reel referred to as a ‘production tape’ remains.

This ‘complete Bob Zieff’ gives an impression of unity that wellmatches the suite concept intended by the composer; as for “The Girl From Greenland”, its role comes as a codicil. The record of Chet’s quartet with Twardzik has now appeared in Ben Ratliff’s book “Jazz, a Critic’s Guide to The 100 Most Important Recordings” (The New York Times Essential Library); it’s a fitting mention for an album that was long-unrecognised in the the United States…

Jordon Alexander (pen name Mall Grab) brilliantly carved out his very own niche in dance music. Influenced by hardcore punk skateboarding and high fashion (Linea Rossa!) in equal parts the young Australian delivers precise studies in house and techno. As entertaining as they are excitatory there hasn’t been a bump on his road so far. Alexander’s debut for Running Back proves this point. How The Dogs Chill Vol.2 delivers four high octane tracks whose DNA contains traces of deep house and a penchant for atmospheric and dulcet melodies. But they are also muscle-bound soaring and cater to the aptitude of shaking legs. Written in 2022 while he was around the flora and fauna of Australia these tracks are also supposed to sound somewhat botanical – or at least evoke the sensory experience of a visit to a greenhouse. Carefully sequenced and crafted one is left with an appetite as soon as the playtime is over. Proper nutriment for party people and serious music pendants alike.

Original soundtrack from the animated TV series 'Professor Balthazar' (1967 - 1978) by Tomislav Simovic.

Gatefold LP, cut from the original master tapes, liner notes by Zeljko Luketic and exclusive graphics by Boris Stapic.

Master tapes were considered lost; now found and restored for this unique release celebrating Yugoslavia's biggest cartoon export of the times.

Professor Balthazar was filmed from 1967 to 1978 in Zagreb. It was a huge international success: from large fan base in Scandinavia to broadcasting on USA television and countries like Germany, Italy, UK, France and even Iran. It's still aired on various TV programs and video platforms.

Animation style and content is widely praised for being one of the rare cartoons that does not feature any kind of violence or aggression. The character of Professor Balthazar solves problems in a peaceful way. He uses his inventions and science to help his friends. Distinctive visual influence is a crossover of bright, psychedelic colors, weird shapes and naive art, typical for Zagreb School of Animated Film. This soundtrack is mastered from original tapes, composed and conducted by Tomislav Simovic.

The music is busy, playful and mixes influences of jazz, modern classical and even electronica. Fox & His Friends Records, also the curators of the largest ever multimedia exhibition on Professor Balthazar series in Museum of Modern and Contemporary Art in Rijeka as a part of the European Capital of Culture program in 2020, present the masters without any interventions in sound. This album cut includes longer rare version of main credits, made exclusively for Zagrebfilmijada, an event of public screenings of Professor Balthazar and other cartoons in cinemas in 1970's Yugoslavia.

A defining album of the 90s, Last Splash by The Breeders turns 30 this year. To celebrate, the band have returned to the original tapes to give it its first-ever remaster, and by doing so have also unearthed two lost tracks that will delight fans. Recorded by the "classic" Breeders line-up of Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson and featuring singles "Cannonball" and "Divine Hammer", Last Splash was "an alt-rock classic" (Pitchfork"s Top 100 Records of 1990s) on release; a fast seller too, quickly attaining Platinum status in the US. Despite having had the boxset treatment on its 20th birthday, the album was still left to be remastered so 10 years on, the original y" tapes were taken out of the archives and have been lovingly worked on by Kim Deal, Benjamin Mumphrey and Miles Showell (Abbey Road). Never sounding so good, the album for its 30th anniversary, it"s getting the ultimate vinyl pressing. Entitled Last Splash (the 30th Anniversary Original Analog Edition), this new version has been cut at half speed at Abbey Road by Miles Showell, now spanning two LPs and running at 45rpm. A Japanese cd edition will also be available. This edition contains an exclusive, one-sided etched 12" which features two previously unreleased tracks - "Go Man Go" and "Divine Mascis" ("Go Man Go" is a track that Kim co-wrote with Black Francis while "Divine Mascis" is a different version of "Divine Hammer" with Dinosaur Jr."s J Mascis on lead vocals). Both tracks originate from the original sessions and were left forgotten until the sessions were exhumed to create this new master. The attention to detail continues to the album"s art, which equally celebrates Vaughan Oliver"s iconic sleeve. With Vaughan sadly no longer with us, his long-time design partner Chris Bigg has gloriously reimagined the album"s sleeve for this new version.

KAU (previously KAU trio.) is an instrumental trio based in Brussels. Representing various European backgrounds, the Belgian capital and melting pot proves to be a never ending source of inspiration for the band. Taking influences from jazz, groove and dance music, their aim is simple but straightforward: to make your heads bob. The formula they use to do so has been the same since their early days: improvisation, never ending jam sessions and an open-mindedness towards various genres and styles. This gives their music an organic and vibrant feel. Furthermore, the three boys' long-lasting friendship is at the heart of it all, always relying on what brings them together: their love for music. The KAU cycle is bound to repeat itself and to birth something new - over and over again.

"The Cycle Repeats" is KAU's debut album, due on September 22 on SDBAN Ultra, the home of ECHT!, Black Flower, Glass Museum, STUFF. and more. It represents a milestone in the band's musical journey: it's their firm decision to present a strong and unified trio playing music that stands out through the combination of 80's synths, acoustic drums and electric bass. Moreover, the album succeeds in capturing the energy of their infectious and legendary live shows.

Highlights are album opener "Kampala", which has a throbbing bassline, jazzy synths and heavily modified arpeggiators at its core. The album's first single "Little Steps" starts with a strong hip hop groove, morphing into Herbie Hancock-style chords. "Amulet" is inspired by breakbeats, fast paced grooves and pentatonic bass lines. Both "Kautokeino" and "Alaska" are an invitation to travel to the utmost remote places of this earth, using intense sequencing and suffocating subbasses into an epic finish, probably demonstrating the trio in its most sincere form.

In short: with André Breidlid on drums, Matteo Genovese on bass and Jan Janzen on synths, KAU are a trio of childhood friends with a pan-European identity, whose music reflects the city they grew up in: unapologetic, richly diverse and with a spontaneous groove underlining it all. With their new album "The Cycle Repeats" they directly aim for your dancing shoes and souls.

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12“-EPs mit Musik von einigen der wichtigsten und erfolgreichsten Wegbegleiter. Consolidated ist ein amerikanisches Kollektiv, das 1988 in San Francisco gegründet wurde. Sie waren bekannt für ihren linken politischen Aktivismus und ihre radikalen Texte, sowie für ihre innovativen Soundcollagen, die Industrial-, Hip-Hop-, Hardrock- und Funkmusik vermischten. Ihre Texte behandelten Themen wie Vegetarismus, Frauenrechte, Tierrechte, den Kampf gegen Rassismus und Homophobie, den Zweiten Weltkrieg und Holocaust, sowie die Gefahren des Kapitalismus und die Übel des amerikanischen Nationalismus.

Bobby Caldwell's second album, Cat In The Hat, from 1980, is one of his greatest moments and another masterwork of soulful sophistication. Featuring the eternal "Open Your Eyes", brilliantly sampled by J Dilla for Common's "The Light", it's about as essential as records get. Like its eponymous predecessor, it's been out of print for far too long. To finally release the hugely-anticipated reissue is one of our sincerely proudest moments.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

Right from the off, it's easy to tell that Cat In The Hat is a deeply special record. It's fantastically produced and incredibly well-rounded, carving its own lane with deep soul, warm jazz and a stunning vocal delivery that really helped Bobby reach out to some big new audiences at the time. Goosebumps at the ready for the rolling power-piano funk of "Coming Down From Love", opening up the album with a track as good as anything Steely Dan or The Doobies ever crafted, with a vocal performance from the heavens. Pumping AOR wonder "Wrong Or Right" is up there with the slick, classy rhythms of prime Ned Doheny whilst the cool, skipping soul of guitar-drenched "To Know What You've Got" is a funky ballad par excellence, with elemental traces of "What A Fool Believes". No bad thing. Closing out Side A, the folk-funk of "You Promised Me" is a bright, soulful strut with a wonderful vocal coda that just builds. Sensational.

The delicate bounce and falsetto self-harmonising of "It's Over" offers a truly delightful introduction to Side B, and serves as a great precursor to what follows. Bobby's dynamite "Open Your Eyes" is likely the reason you're all here. As if he needed it, the eternal J Dilla further immortalised Caldwell in the hip-hop canon with his production of Common’s epochal “The Light,” which heavily samples the magical “Open Your Eyes.” On a post paying tribute to Bobby in March 2023, Questlove claimed that he "got word Brother Bobby loved it". Bobby's original has seen new life even more recently from the likes of Dwele and Kendrick Lamar and deservingly so, as its insistent drums and staccato piano created a modern-soul classic. You'd think that would be hard to follow, wouldn't you? Not so, when you're Bobby Caldwell. Indeed, the horn-drenched stepper "Mother Of Creation" is absolutely ace, and, whisper it, possibly the album's finest track, all funky piano and guitars with horn lines to die for. Exquisite ballad "I Don't Want To Lose Your Love" rounds out the album beautifully.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of Cat In The Hat will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Auf ihrem Solo-Debütalbum brilliert die ex-Friends-Frontfrau Samantha Urbani mit ihrem unwiderstehlich lockeren, retro-orientierten Alt-Pop. Ihr perfekter Kompromiss zwischen berauschenden Popmelodien und uneingeschränktem Experimentieren macht das Album zu einer überzeugenden Sammlung zahlreicher Referenzen - von Disco und 80er Freestyle, über Jam & Lewis und Santigold, bis Blondie, LCD Soundsystem und Talking Heads. Das von ihr und Nick Weiss (Nightfeelings) produzierte Werk ist eine zutiefst erhebende Platte, ein Beweis für Spontanität und Überlebensgeist.

It’s long believed that dreams are a way for our subconscious and conscious selves to interact. A chance meeting between cognitive thought and the expanse of imagination. Our dreams are often half remembered upon waking, leaving bits and shards of the story left to be pieced together. That process of pulling together fragments feels infused within Austin’s Neckbolt, a band with a radiant understanding of pairing disparate elements together to create something magnificent. Introduced back in 2021 with Midwestern Drawl, their self-released debut album, the duo of James Roo and Benjamin Krause formed the project with a specific energy and an alien sound. At its core, that record laid the blueprint for the band, a forward thinking mix of caustic noise rock and vivid psychedelic pop, combining to create something wild yet ingenious, reshaping common genre ideals.

At some point between the recording and release of their debut, Neckbolt expanded, reverse engineering their sound to form a live band that could pull off the music of their recordings. The line-up grew from a duo to the quintet, with Roo (vocals) and Krause (guitar) joined by longtime friends and collaborators, Bill Indelicato (bass), Brent Hodge (drums), and Kilyn Massey (guitar), forming an instant chemistry apparent in their earliest of live shows. With members split between Austin and Oklahoma City, the band adapted their approach to songwriting, opting to record in bits and pieces as they wrote, bouncing ideas back and forth, watching songs take shape in ways that none of the members had intended, but all were quick to embrace. Neckbolt are a freaky band and their second album, Dream Dump, seizes the opportunity to dial up the strange in their own vibrant way.

Neil Young gilt als Godfather of Grunge Rock. Seine Karriere begann 1966 mit der Band Buffalo Springfield, absolvierte erfolgreich Tourneen mit The Crazy Horse und ist auch als Solo-Künstler ein Weltstar.
Im Jahr 1976 wurde dieses Akustik-Konzert vom US-Radiosender W CM-01 mitgeschnitten und erscheint nun als strikt limitierte, in weißem Vinyl gepresste Schallplatte.

'Hearts For Sale' ist die fünfte und neueste Compilation der Ace-Serie mit Compilations, die den US-Girlgroup-Sound der 1960er Jahre in den Mittelpunkt stellen. Wie bei den Vorgängern liegen der LP umfangreich illustrierte Inner Sleeves mit 2.500 Wörter umfassenden Liner Notes des Compilers Mick Patrick bei. Klassisch, schwarzes Vinyl. Tracklisting auf B2B!

If youʼre a fan of Daptone Records, chances are youʼve read or heard the name Victor Axelrod, and even if you havenʼt, youʼve heard music from his hand. As a producer, arranger, recording and mixing engineer, and keyboardist, his creativity has extended across more than two decades of the labelʼs releases, even dating to its prehistory with Desco Records.

If You Ask Me To..., the first LP under his name for the label, is a collection of singles released between 2007-2023 as well as unreleased tracks from Sugar Minott and Binky Griptite. The genesis of which came via an 11th hour request from Daptone for a Sharon Jones remix (2007) that resulted in the reggae version of “How Long Do I Have To Wait For You?” found here.

This opened the door to additional explorations of reggae/soul synergies within the catalog, affirming the musical and cultural link between Daptoneʼs core soul sound and Axelrodʼs passion for Jamaican music. While previous projects like Ticklah Vs. Axelrod and Roots Combination (produced under the alias Ticklah) were inspired by the Jamaica of the 1970s and 80s, this set specifically channels an earlier period in the 1960s when Jamaica was both strikingly original in its continuum of genres but also closely and empathetically attuned to Black American music.

Through Axelrodʼs exceptional taste and the notable contributions of guitarist To

Mathis Ruffing & Tamila bring serious heat to International Chrome's second 12" of 2023. Three original tracks of breakbeat & electro featuring the bi-lingual vocal stylings of Miss Tamila on one side, and two fire remixes by Sinistarr, and DJ Fucks Himself taking things up and up on the flip.

As you'd expect from a label run by Jensen Interceptor and Assembler Code, this is 100% dancefloor stuff with serious sonic heft.

Originally released on Rocket Girl in 2000, Piano Magic’s third album proper heralded a seismic and surprising shift away from its more electronic predecessors, ‘Popular Mechanics’ and ‘Low Birth Weight.’ ‘Artists’ Rifles’ is Piano Magic’s first band-band album and marks their debut, actual recording studio appearance. Improvised on the spot and produced/recorded over just five days by John A. Rivers (Dead Can Dance, Felt), at his Woodbine St Studios in Leamington Spa, stylistically, the record could feasibly be described as the first (only?) baroque post-rock record, utilising as it does, consciously or otherwise, influences as broad as Bach and Codeine.
For ‘Artists’ Rifles’ the core of Glen Johnson (vocals/guitars/keyboards), John Cheves (guitars), Paul Tornbohm (bass) and Miguel Marin (drums/percussion) were augmented by guests Caroline Potter (vocals) and Adrienne Quartly (cello).
The success of ‘Artists’ Rifles,’ particularly in Spain, kickstarted a wealth of touring possibilities and over the next 16 years, the band toured all over Europe. It also caught the attention of 4AD Records, for whom they signed to the following year.
This 2023 vinyl re-pressing honours the original (Matt Dornan) sleeve design and beautiful photography of Royal Artillery Memorial (Hyde Park, London), by John Cheves of the band.
“Classic English folk music for the 21st century” – Record Collector
“Glen Johnson and cohorts explore a doomed English romanticism, boldly linking contemporary romantic mores with the lost generation of 1914 – 18…. strangely it works….” – The Wire
“Another endearingly odd record, drifting along the seawall between the macabre and melancholy. This is the work of 4AD obsessives who have learnt to love electronica.” - Q

1998: Tortoise"s third studio album TNT is released. In and out of print over the past decade we are happy to finally give everyone what they have been asking for - TNT on vinyl again! Pressed on high quality virgin vinyl, the two LPs are packaged in a deluxe old-style tip-on gatefold jacket fully replicating the original artwork and includes a download coupon for the first time! Tortoise"s third full-length release, TNT, was written and recorded during a 10-month interval in 1997. This longer-than-usual writing/production schedule was purposefully undertaken by the group in the hopes of crafting an expansive, diverse, yet thematically coherent offering. TNT builds upon the spare, instrumental framework of the group"s first, self-titled album, and the extended edits, melodic adventures, and klangfarben of the subsequent full-length release, Millions Now Living Will Never Die. Further to this, Tortoise"s interest in the possibilities offered by the remixing of tracks was realized within the actual production of TNT; individual elements, sections, or sometimes whole compositions mutate within the album"s shifting framework. These techniques were suitably realized thanks in part to the use of non-linear digital recording and editing methods, the first example of such work for the group.