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Globally renowned Danish group WhoMadeWho has returned with their 8th studio LP, the highly emotive and melodic Kiss & Forget, marking their first album release since 2022’s acclaimed UUUU. The ever-evolving outfit step into a new era with a vibrant collection of 13 tracks featuring indie electronic, pop, house, disco, synthwave, and more elements. Boasting an impressive list of album collaborators - RY X, Blue Hawaii, Adriatique, Kölsch, and nour - Kiss & Forget offers a concoction of diverse sounds that evoke the collective’s perpetually youthful spirit. Kiss & Forget is due for release on September 13th via the band’s imprint, The Moment.

Despite their extensive and storied career, WhoMadeWho - comprised of Tomas Høffding, Tomas Barfod, and Jeppe Kjellberg - has been having one of their best years yet. Since announcing the album in late 2023, the band has teased fans with a series of singles that highlight the diverse sonic palette of Kiss & Forget. The nostalgic lead single, “Children,” boasting the angelic timbres of the Danish children’s choir Vesterbros Ungdomsgård, became an instant hit, earning Pete Tong’s highly sought-after “Essential New Tune” title on BBC Radio 1. This was followed by the ethereal “Love Will Save Me” featuring GRAMMY-nominated RY X, the dreamy “Kiss Me Hard” with Canadian indie duo Blue Hawaii, and “Heartless” with fellow venerated Danish electronic producer Kölsch.

Wehbba returns with an impressive two-tracker ‘Awaken’.

Anything the on-point Brazilian contributes to Drumcode is always top notch. From his 2020 album ‘Straight Lines & Sharp Corners’ to the cracking ‘Catarse’ EP from 2018 to last year’s sci-fi themed ‘Premonition’, the vast collection of quality music the artist has dished up on Adam Beyer’s label always stands out amongst the crowd.

The producer, who’s a practitioner of Vipassana meditation, takes inspiration from the spiritual realm for his latest production work. ‘Awaken’ is a hyper euphoric anthem inspired by light that packs plenty of bottom end power. We can’t wait to hear this played during the upcoming festival season. ‘Revelation’ is a spitfire trippy techno outing, which utilises Eastern scales and takes influence from ritualistic ceremonies from Middle Eastern and South Asian cultures. Mark this down as another timeless Wehbba EP on Drumcode.

Heiko Maile und Julian Demarre, vertraut mit dem Schreiben von Popsongs und Filmmusik, arbeiten seit dem Album-Klassiker "MEANWHILE" von Camouflage Mitte der 90er Jahre zusammen. Während Heiko seine Arbeit am perfekten Popsong kontinuierlich weiterführte, kam es bei Julian und Heiko unabhängig voneinander zu ersten Engagements im Bereich Filmmusik. Seit die beiden begannen, auch gemeinsam an Spielfilmen zu arbeiten, wuchs in ihnen stetig das Bedürfnis, eine Liebeserklärung an die elektronische Musik der 70er und 80er Jahre zu schreiben. Mit manch esoterischen japanischen Keyboards aus den 70er Jahren, die für den Klang von morgen entwickelt wurden, entstand so ein Werk für alle Tage danach - das genreübergreifende Album NEOSTALGIA, eine einzigartige und facettenreiche Mischung elektronischer Stile, verbunden mit einer Prise Krautrock. So finden sich dann auch auf so manchen Stücken Intros/Outros, Flöten, Flanger-Gitarren oder Vocoder, und sogar solche, die die Sechs-Minuten-Marke spielend erreichen.

VDR Remixes: Beyond Music

The concept for this remix album evolved gradually through various encounters and exchanges. Despite its complexity, the project would not have come to fruition without the firm dedication of each artist involved.

Artists were given the freedom to select any track from my discography for their remix. With no directives, the LP's magic emerged from their unique styles and creative visions, resulting in a diverse palette of tones and rhythms.

The first record opens with Stephen Brown's electrifying remix of Blunt's "Later For It," originally released on Bright Sounds. Stephen's reinterpretation infuses the track with dark, captivating techno.

On the B-side, Markus Suckut presents his masterful adaptation of "Thrust It," a track marking my first release. Following this, Sawlin transforms "The Venue" from The Cruiser series, infusing it with his signature 'Made by Sawlin' style.

The second record continues with two compelling versions of "Moon, Sea and Waves" by Alek S. These reinterpretations—one dub techno and the other Detroit-oriented—offer a unique and immersive vision of the B+A+D tracks, originally released on Newmont.

On the flip side, Joe Metzenmacher delivers a daring electro remix of "1NON1" on D1, followed by Sicaa's bass music rendition of "Archensweet" on D2.

The third record is entirely dedicated to remixes of the Ashppe series, which I hold dear. Drexl provides a powerful breakbeat cut of "Flexit," a true bomb. Simon Ferdinand from Polycarp Records, with whom I had the pleasure of working, captures the punch and melancholy of "Fudge It". The LP concludes with two Dub 3.0 adaptations of "Let's do it" by Anthony Cacharron, using the aliases Alpha GPC and Redrop, ending on an exploratory high note.

A heartfelt thank you to all the remixers for their boundless creativity and commitment to this project

Le mythique groupe français Indochine a gratifié ses fans le 14 juin dernier d'un nouveau titre, «Le chant des cygnes» qui ne cesse de progresser dans les airplays suisses et français. Indochine nous donne rendez-vous le 7 septembre prochain pour découvrir en intégralité leur nouvel album intitulé «Babel Babel», mixé par Mark «Spike» Stent et illustré par une pochette signée David LaChapelle.

Reissue

'Find Me Finding You', the new album from the new organization called the Laetitia Sadier Source Ensemble, manages to strike new chords while touching familiar keys in the song of life.
From its percolating opening beat, 'Find Me Finding You' locates new systems within the sound-universe of Laetitia Sadier. This in itself isn't a surprise - Laetitia has relentlessly followed her music through different dynamics and into a variety of dimensions over the course of four solo albums since 2010 (not to forget her three albums with Monade and the long era of Stereolab) - but the nature of the construction here stands distinctly apart from her recent albums. Laetitia was inspired by a mind's-eye envisaging of geometric forms and their possible permutations. As she sought to replicate the shapes in music, this guided the process of assembly for the album.
Part of the freshness of 'Find Me Finding You' comes from working and playing within the Source Ensemble and exploring new sound combinations via a set of youthful and evolving musical relationships. Laetitia recognized the energy of the tracks in their initial form and sought to preserve their vitality by not retaking too many performances - instead, the rawness in the tracks was retained and refined at the mixing stage, maintaining an edge throughout. When we hear synth lines diving, lifting and drifting, unusual guitar textures, the plucked sound of flat wound bass strings or the bottomless pulsing of bass pedals stepping out of the mix with an exquisite vibrancy, this is the sound of the Source Ensemble.
A key to Laetitia's music is her use of vocal arrangements. Throughout 'Finding Me Finding You' the shifting accompaniment creates space to bring this element gloriously forward. Arranged by Laetitia with Joe Watson and Jeff Parker making string charts that were subsequently transposed to vocal parts for several songs, richly arranged choirs of voices provide depth along with the thrilling presence of extra breath in the sound. Laetitia's community-politic is well-served by the groups of voices lending support to the machining of the song craft, providing additional uplift to her quintessentially forward-facing viewpoint - as well as massed voices from three different countries sharing space in harmony.
Working in collaboration is Laetita's tradition and a key to this album's view on being free together. The designation of Source Collective implies a new togetherness phase, alongside long time collaborators Emmanuel Mario and Xavi Munoz, keyboard and flutes parts played by David Thayer (Little Tornados) were essential contributions, as well as further keys, synths and electronics from Phil M FU and several intense guitar sequences from Mason le Long. Chris A Cummings (aka Marker Starling, Laetitia's favourite composer) graciously wrote 'Deep Background' for her. The duet with Hot Chip's Alexis Taylor on 'Love Captive' (not to mention Rob Mazurek's distinctive coronet playing) gives voice to an ideological cornerstone of 'Find Me Finding You'

Released in 1963 on the Contemporary Records label, “The Cry!” Is a free jazz album by saxophonists Prince Lasha and Sonny Simmons. Also featured are Gary Peacock and Mark Proctor (bass), and Gene Stone (drums). This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

On their seventh long player The Breaks - their second for Joyful Noise Recordings - SUUNS are lost in limbo. For some artists, being caught in flux may result in songs that are either naive, out of touch or both, simply as a consequence of being cut off from human civilization. But for SUUNS, a band who have grown more than comfortable in the oblique and the intermediate, it actually had the opposite effect. The Breaks marks the Montreal experimental rock outfit's most emotionally resonant and tonally rich collection of music to date. The trio of Ben Shemie, Joseph Yarmush and Liam O' Neill leans more zealously than ever into their pop instincts. Yet remarkably enough, with that same dauntless abandon, SUUNS have mined a more extreme sonic palette this time around, one that stretches far beyond their core fundamentals as a band. The Breaks finds Shemie, O'Neill and Yarmush gleefully experimenting with loops, synths, samples and MIDI-instruments like a post-millennial Tangerine Dream messing with downtempo triphop beats. O' Neill took point in the producer's chair for The Breaks, arranging, structuring and editing many of Shemie and Yarmush's ideas from sporadic rehearsal sessions into Pro Tools, reimagining the songs over and over during a two-year time frame. Forged between countless plane rides, road trips, van tours and text threads, The Breaks became a product of endurance and a lot of trial-and-error. It's a record forged in tight fissions of freedom, where spells of whispered intimacy - like on the stunning ballad "Doreen" - are allowed to branch out into the vast glacial dreamscapes of the album's majestic title track. It captures SUUNS at their most panoramic, curious and exuberant: a constant relay of being adrift and enlightened anew, geared up to eleven. And guess what: the wheels keep on spinning.

Admittedly, I'm not a great salesperson when it comes to running our little label. I do my best not to give into hyperbole or build something up too intensely if someone has not heard a new artist yet. I prefer to simply present the music and let the listener decide how they feel about it. However, we live in an age when the "story" put together by publicists, labels, and managers are often the driving force of an artist's ascension into the zeitgeist. And for me, that's always felt rather artificial, even when the narrative is genuine. But every once in a while, a project comes along that takes on a life of its own. And I can say without a doubt that the growth of Pale Jay's reach since we first started working with him has little to do with conjured narratives or clever marketing, but more to do with how the music makes the listener feel. It's that simple. In fact, Jay is so enigmatic and without a narrative that the mere absence of a story has become the story. Who is he? Where is he from? What's next? Some questions are better left unanswered in my opinion, my friend. Including the question, "Why does this music make me feel so much?" You're better off just sitting back, disconnecting, and letting Low End Love Songs by Pale Jay wrap you up. Enjoy and spread the good word. - Terry Cole

"Low End Love Songs", more so than previous releases, is a diary in form of song. I knew I just had to wait for the songs to be ready to be picked, like ripe fruit from a tree. Each tune encapsulates a distinct moment in my life, with music serving as my means of processing complex and sometimes conflicting emotions. In this album, I depart from loop-based song structures towards more intricate and lush compositions. Latin influences permeate the music, adding new layers of rhythms and textures to my soul-music roots. - Pale Jay

Crime In Australia follows 2022's The Real Work, the first Party Dozen record that (some) people were actually waiting for; the one that Nick Cave sang on; the one that had a track that billy woods jumped on for a rework; the one that took them to the USA, Europe (twice), Japan, China and New Zealand; the one that saw Party Dozen hook up with a cool US label (Temporary Residence Ltd.); the one that made Bandcamp, Stereogum, Brooklyn Vegan and a whole swathe of Australian radio stations declare it their Album of the Day/Week/Epoch; and the one that made KEXP invite the band in for a live session, and made Sub Pop add to their hallowed Singles Club. The Real Work was not the first Party Dozen record, but it was in many ways where Party Dozen really started to put it all together. Crime In Australia continues to build on their arc, and elevates their ascent with a slew of new songs that are simultaneously more focused and more feral than anything they've ever done. And there are no guests on this one.

Crime In Australia follows 2022's The Real Work, the first Party Dozen record that (some) people were actually waiting for; the one that Nick Cave sang on; the one that had a track that billy woods jumped on for a rework; the one that took them to the USA, Europe (twice), Japan, China and New Zealand; the one that saw Party Dozen hook up with a cool US label (Temporary Residence Ltd.); the one that made Bandcamp, Stereogum, Brooklyn Vegan and a whole swathe of Australian radio stations declare it their Album of the Day/Week/Epoch; and the one that made KEXP invite the band in for a live session, and made Sub Pop add to their hallowed Singles Club. The Real Work was not the first Party Dozen record, but it was in many ways where Party Dozen really started to put it all together. Crime In Australia continues to build on their arc, and elevates their ascent with a slew of new songs that are simultaneously more focused and more feral than anything they've ever done. And there are no guests on this one.

Achtung UFO Fans, aufgepasst! Wer in den zurückliegenden zwei Jahren befürchtet hatte, dass UFO-Frontmann Phil Mogg, einer der einflussreichsten
Rocksänger der Welt, nach dem Ende seiner Band und zwischenzeitlich gesundheitlichen Problemen komplett von der Bildfläche verschwindet, wird
nun erfreulicherweise eines Besseren belehrt. Nach einer kurzen Pause des kreativen Durchschnaufens präsentiert der Engländer mit der markanten
Stimme jetzt mit ‚Moggs Motel‘ seine neueste Veröffentlichung, die er zusammen mit Tony Newton (Bass & Keyboards) von Voodoo Six – die Band
war zuvor mit UFO auf Tournee – und seinem langjährigen Partner Neil Carter (Gitarre, Keyboards, Gesang) komponiert hat. Das Album wurde im
Studio von Iron Maiden-Bassist Steve Harris in Essex/UK aufgenommen. Während der Aufnahmen wurde das Line-Up durch Joe Lazarus (Schlagzeug)
und Tommy Gentry (Gitarre) vervollständigt. Die zwölf zeitlosen Songs der Scheibe zeigen unüberhörbar, dass Mogg anno 2024 nichts von seinem
künstlerischen Charisma, der einzigartigen Ausdruckskraft seiner Stimmbänder und seinem Spaß an ungezügelter Kreativität eingebüßt hat.
Veröffentlicht wird ‚Moggs Motel‘ am 6. September 2024 über Steamhammer/SPV als CD, Vinyl-LP und Download. Bereits vorab werden – quasi als
Appetizer – zwei Singles inklusive Videos ausgekoppelt: Am 28. Juni 2024 erscheint der Album-Opener ‚Apple Pie‘, gefolgt von ‚Sunny Side Of Heaven‘
am 16. August 2024.

Mutant, in partnership with WaterTower Music, are proud to present the premiere physical media release of Tom Holkenborg’s explosive score to George Miller’s latest wasteland epic FURIOSA: A MAD MAX SAGA. Tom Holkenborg’s collaborations with the legendary George Miller Mad Max: Fury Road, Three Thousand Years of Longing have produced some of the most unique and powerful film music of the last decade. With FURIOSA, he takes the sonic landscape he created with the last film and shifts into higher gear. The loudest revving-engine of a score you’ve ever heard, absolutely pulsating with ferocity and white-knuckle tension.

"My collaboration with the incredible George Miller began over a decade ago with our work on Mad Max: Fury Road, a project that marked a pivotal moment in my career as a film composer." says Holkenborg. "Returning to this world to score the odyssey of Furiosa, an epic tale of survival, resilience and revenge has been just as eye-opening and gratifying. Furiosa: A Mad Max Saga is a testament to the vision of a singular film maker, whose pursuit of excellence always inspires me to push my creative limits."

Pressed on 2x 140 gram eco vinyl, with liner notes by composer Tom Holkenborg and housed in a tri-fold sleeve designed by Mutant co-founder Mo Shafeek.

`Think Differently' is the debut LP by the duo of Callahan & Witscher. Jeff Witscher has been one of the most daring voices in underground American music for two decades, highlighted by releases on Pan and NNA Tapes. Jack Callahan's focused, uncompromising approach to sound caught the attention of both Demdike Stare's DDS label and Swiss composer Jürg Frey, who took Callahan on as his first composition student. Fans of their individual work might expect opacity, disruption, or rhythmic irregularity from their collaboration, but `Think Differently' sounds like a pitbull in a convertible, a sand-kicking beach party, the dopamine hit you get from 311 or Smash Mouth. It's a punchy, crunchy, highly infectious record. How did Callahan & Witscher cut the path from the ghostly margins of avant garde musics to the gutters of post-grunge American hard rock? In the words of Callahan, "at some point, you start to need a stronger drug." The most potent characteristic of this stronger drug is the guitar. And not just any guitar, but a sassy, contagious, blithe guitar. Its presence is a drastic shift for two guys who've combined to make dozens of records over the years, not a single one of which has a recognizable guitar sound on it. Alongside the cool breezes and hyperactive fretwork of Callahan's guitar playing, the songs are backboned by strutting, groove-happy vocals: all bark, all bite. Every song is a careful collage, light but dense, ornate with gang choruses, soulful femme vocals, autotune and whisper scratches. This accumulation almost manages to hide the record's potent undertow of dread. `Think Differently' unfolds carefully, a slow-motion demolition that reveals the anxiety of second guessing, the exhaustion of tour, creative bankruptcy, willful misunderstanding, the pain of caring. Setting this lyrical cynicism against such sonic glee isn't a spoonful of sugar, it isn't a bait-and-switch, it isn't a prank. After all, the dumb bliss of Sugar Ray's "Fly" shades a song about Mark McGrath's mom dying. "All Star" is about climate change. Most Sublime lyrics are a bummer. But there's still room for a raised beer, for a dumb grin. Like these ancestors, Callahan & Witscher aim at maximum uplift, at sounds that warm and dazzle like a sped-up sunrise. In spite of overdraft fees, in spite of bad art, in spite of self-doubt.

Almost 3 years after the release of "Mathusalem", François Ier reveals his fiery successor, "Incendie". In keeping with his previous releases, this new opus has been conceived on the basis of enveloping layers, deep bass and harmonies that are always very rich. The melancholy dimension characteristic of his music is also omnipresent, although it sometimes asserts itself with a form of violence.

Like its abundant cover, this new opus deploys an extremely varied range of sounds, most often evoking strong English influences, with breakbeat, jungle, drum'n'bass and new-wave rhythms, all supported by vocal samples with dancehall, reggae, r'n'b, reggaeton and hip-hop accents, resulting in a hybrid sound to say the least. "Incendie" is marked by the systematic use of the Prophet 8 synthesizer, whose wild, constantly shifting sound underlines the fiery character of this new opus.

Recorded in 2014, Mid-City Island is the first ever project to be released from Moses Sumney. Moses recorded the entire EP from his apartment in Mid-City, Los Angeles straight to cassette on a four-track recorder that TV on the Radio's Dave Sitek lent him. To mark the 10 year anniversary of Mid-City Island, Moses kept good on a promise he made to himself all those years ago, broke and starting out - that he would press it to vinyl in a decade. Reflecting back on that period, Moses says "Mid-City, Los Angeles was more of a concept than a place. Seemingly nobody had ever heard of it, and yet it was the geographic center of the city. Living there felt analogous to my disposition as a 'rising' Angeleno - highly visible and invisible at the same time. I sat on my bedroom floor and wrote 'Plastic.' Throughout his 10-year career, Moses Sumney has consistently evaded definition as an act of duty: technicolor self-directed videos and monochrome clothes; Art Rock and Black Classical; blowing into Fashion Weeks from a small town in North Carolina; seemingly infinite collaborators, but one staggering voice. Consistent across the worlds of music, fashion, and film is his assertion that the undefinable still exists and dwelling in it is an act of resistance.

Ever wondered what music would sound like if it was ripped from the space directly preceding sleep? The tracks within this album are your gateway to discovery. These recordings, which were laid down especially for the USA radio stations WFMU and WGXC, will melt your speakers and your mind. Released on the ever excellent Feeding Tube Records (USA) & Cardinal Fuzz (UK). BHAJAN BHOY (aka Ajay Saggar) symbolises boundless creative freedom in all the music he has produced to date. This LP is no exception to that rule….in fact, this album showcases an even wider spectrum of sounds and ideas than could ever be imagined. From heavy lysergic guitar excursions, to dub inflected guitar pedal pop, to nu-age minimalism, to electronic experimentalism….all the terms and descriptions in the world don’t do justice to the originality that lies within. When USA radio station WFMU asked Ajay to contribute tracks to a session for the show “Feelings” (co-hosted by Michele and Creamo Coyl), he turned in 5 tracks that received tremendous feedback from around the world on the station’s live chatline when broadcast. In addition, a session for WGXC further showcased the songwriting talent of Ajay. The ensuing 3 week tour of the USA cemented BHAJAN BHOY’s status as one of the most innovative musicians around. This LP marks another giant leap forward in BHAJAN BHOY’s musical development. He’s brimming with ideas and the imagination runs wild. This music is for the listeners who want to follow a path of discovery and be mesmerised and blown away by what they hear. Be sure to be one of the listening party. Presented in a high gloss outer sleeve with 2 sided insert.

Blue Glitter Vinyl. One Step Closer has always believed that hardcore is limitless. On All You Embrace, the band puts that theory into practice. Every release from the Wilkes-Barre, Pennsylvania band has seen them exploring the sonic overlaps of hardcore, emo, and '90s alternative rock without an iota of self-consciousness, or pretension, creeping into the mix. All You Embrace is a collection of 11 songs that show One Step Closer reaching for something deeply honest and, as always, authentic."I wanted to showcase One Step Closer in its fullest state," says vocalist Ryan Savitski. "Every single part of the band, I wanted it to be there. I wanted us to be 100% ourselves and be as authentic to our band as we could possibly be." For fans of their first EP From Me To You, there are songs like "Blur My Memory," which show the passionate melodic hardcore the band built its name on is still part of the program. But it's immediately followed by "The Gate," a song that taps into the expansive reaches the band hinted at on This Place You Know and put on full display with the powerful follow-up EP, Songs For The Willow. Every element of One Step Closer is on display throughout the record, as they expound upon every idea until each one has achieved its full potential. The result is a record that's bigger, catchier, and moodier than anything they've done before, while still feeling exactly like OSC.Taken in full, All You Embrace is the sound of One Step Closer honoring their past while building a future that looks more open, more creative, and more expansive. It's a place where records like Start Today, Diary, and Floral Green are all in conversation with one another. Even the album's cover art marks a new direction for the band - the dizzying, frigid blur of blues & blacks colliding is a painting of guitarist Ross Thompson spinning in place, evoking how it feels to listen to these eleven tracks about change, grief, anger and the growing up. One Step Closer feels like the next in a line of revered bands coming from the crescent-shaped depression of Wilkes-Barre - and All You Embrace is the perfect introduction to the most exciting version of the band to date.

This collection is reviving the most popular pieces from blockbuster movies by offering a fully fledged state-of-the-art orchestral sound. As the Original Soundtracks for many tracks are recorded in sound quality of the 50s/60s or even in mono – this recording brings a truly revolutionary listening experience to those pieces.

Damien Quintard, who took care of the mastering, co-founded with Brad Pitt “Miraval Studios” in 2021, a recording studio inside Chateau Miraval, bringing back to life the iconic “Studio Miraval”, considered in the 70s till the late 90s as one of the most prestigious studios in the world, recording acts such as Pink Floyd (The Wall), AC/DC, Rammstein, Sting, Muse among others.

Jon Spencer teams up with Kendall Wind and Macky Spider Bowman - the rhythm section from Woodstock NY punk rock wunderkind The Bobby Lees - to chew bubblegum and kick ass. Two years after “Spencer Gets It Lit” (Marc Riley’s BBC6 Music Album of the Year, “hugely entertaining” MOJO, “a sonic witchdoctor who’ll blow your mind” UNCUT) there is still more work to be done saving rock'n'roll music. “Sick of Being Sick!” will be released on limited clear 45rpm Super-Stereo cut LP. Jon Spencer has been innovative force in the independent music scene since the mid-80s. An acclaimed live performer, he has toured all the continents except Antarctica and has amassed a dizzying discography as the leader of Pussy Galore, The Jon Spencer Blues Explosion, Heavy Trash, and Jon Spencer & the HITmakers, as well as with Boss Hog, The Honeymoon Killers, The Gibson Brothers, and Taxi Girls. His collaborations include (but are not limited to) working with Steve Albini, Add N To X, Nicole Atkins, Beastie Boys, Beck, Bomb The Bass, R.L. Burnside, James Chance, Coldcut, Chuck D, Dan The Automator, Jim Dickinson, DJ Shadow, Einsturzende Neubauten, Guitar Wolf, GZA, David Holmes, Japanese Popstars, Dr. John, Calvin Johnson, Steve Jordan, Khan, Moby, Money Mark, The Muffs, The North Mississippi All Stars, Princess Superstar, Puffy AmiYumi, The Sadies, Nancy Sinatra, Solex, Solomon Burke, Speedball Baby, Rufus Thomas, UNKLE, Unloved, Andre Williams, and Bernie Worrell. His production credits include: Cheater Slicks, Demolition Doll Rods, Experimental Tropic Blues Band, Perrosky, Mike Edison, Jesper Munk, Sunshine & The Rain, The Bobby Lees, and Samantha Fish & Jesse Dayton.