Suche:off the record

As one of Jamaica’s leading record producers Arthur ‘Duke’ Reid embraced the new reggae sound. London based reggae giant Trojan Records brought together a dozen of his finest works under the title “Greater Jamaica Moonwalk Reggae”. If features many of the biggest Jamaican hits from 1969 to 1970. Tommy McCook & The Supersonics is one of the main artists to be found on this record. The 12 tracks bringing the best Jamaica had to offer during the heydays of their musical days.

Greater Jamaica Moonwalk Reggae is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

A year on from the highly-acclaimed album 'It's A World Before You', Kaidi Tatham brings more new music to First Word Records - a continuation of his previous EP's for the label (2017's 'Changing Times' & 'Hard Times'), here we enter 'Serious Times'.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. Dubbed by Radio 1's Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince in the sense that he can play most instruments, and play them well. His contributions as a musician, composer & producer have included work with Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more over the years, additionally to being a key player on Jazzy Jeff's PLAYlist album 'Chasing Goosebumps' along with Masego, Stro Elliot, 14KT, Tall Black Guy, Rich Medina and the like, and various projects alongside Dego (2000 Black) and First Word label-mates Eric Lau, Darkhouse Family & Children of Zeus.

'Serious Times' is another 4-track set comprised of Kaidi's unmistakable style, encompassing broken beat, jazz, boogie and hip hop. The EP starts off with the hype jazz-funk bruk of 'Cost of Living', maintaining the tempo into 'Don't Cry Now' which leads with a sweet latin-tinged piano riff. Onto the flipside, and we're treated to the slinky synth-boogie of 'Sugar' before dropping the tempo down & closing the selection with a warped but jazzy instrumental boom bap piece entitled 'Zallom'.

Kaidi is a national treasure quite frankly, and this EP is another mere taster of this man's endless talents and unique vibes. Some grown folk music, perfect for these 'Serious Times'…

Vinyl & digital released on Friday 19th July 2019 on First Word Records (Worldwide Awards 'Label of the Year 2019').

It had taken him almost three years to record, but in 1985 Jake Hottell finally finished his debut solo album, Break The Chains. Inspired by his opposition to fracking, anger at government corruption and a series of profound spiritual experiences, a hundred copies of the album were pressed and given away to radio stations, friends and local business interests in Hottell’s home state of New Mexico.



The album would have remained an obscure footnote in musical history had it not been for the efforts of DJs Danny McLewin and Jeremy Spellacey. Between them, they tracked down Hottell to hear his story, offering the former electronics engineer and Nashville-based music producer the chance to get his music to a whole new audience. Now, some 34 years after the private press edition was produced, Spacetalk is giving Break The Chains a full release for the very first time. Hottell began recording the album in 1982 after reading Your Body’s Many Cries For Water, a best-selling book by Dr Fereydoon Batmanghelidj about the health benefits of clean, purified water. Remembering the poisonous, methane-laden water that came out of his mother’s taps in the 1970s – a by-product of extensive fracking activity in the area around the family farm – Hottell wanted to create a set of tracks that registered his concerns, reflected his recent spiritual experiences (many of which he still finds it difficult to discuss today) and offered a meditative listening experience.



The resultant set is suitably cosmic and emotive, with Hottell cannily fusing gentle drum machine rhythms and dreamy synthesizer motifs – influenced, he says, by a love of the contemporaneous new age output of former jazz label Windham Hill Records – with his own glistening guitar passages, which sit somewhere between the homespun riffs of country music and the classical guitar solos that have long been a sonic staple of Spanish styles such as Flamenco. Many of the tracks have stories attached. “Horizon” features a profound spoken word vocal from local man Darald McCabe – whose homemade purified water helped Hottell recover from serious illness – while “El Rio dos les Delores” was composed after discovering that fracking was taking place on a local Native American reservation. “The Truth Is All I Want”, meanwhile, reflects Hottell’s growing exasperation at the extent of corporate greed and government corruption in the United States.



This new edition of Break The Chains has been painstakingly re-mastered from the original master tapes, while extensive new liner notes shed light on the remarkable musical and personal experiences that inspired Hottell to create an obscure, overlooked classic.

Official repress of Love & Regret, the long out-of-print 2012 debut album from LA-based post punk outfit Cold Showers.

Cold Showers, a unit formed in Los Angeles, CA in 2010, fuses the brash power of their shoegaze predecessors with the smoky compulsions of accessible synth pop standards. Cold Showers fits comfortably within the dusty catalog of Factory Records, if only for their modern interpretation of the romantic isolation that signified that long past era. Piston-precision rhythms and angular guitar patterns that drive along songs such as “Alight” and “BC” sit comfortably alongside the opposing raucous-tinged tracks such as “I Don’t Mind” and “Seminary”. This is the pervasive pop mode against which Cold Showers cast themselves. Versatile, memorable and romantically wistful are all common themes that listeners relate to when diving into Love & Regret.

Looking back on the past seven years and the album’s ultimate impact, Love and Regret created and solidified the band’s stark identity in a single, well crafted release. While their early singles on Art Fag & Mexican Summer introduced listeners to Cold Showers simply as a band, Love & Regret debuted the group as something to be taken more seriously. Songs that are intended to be personally unpacked with the listener’s pleasure and heartbreak as personal reminders of more innocent times.

'Junction' - a six track EP produced entirely by Samrai & Platt - features vocalists from Jamaica, Ireland & the UK and rounds off an excellent 12 months for the label & crew who've toured across North America, Mexico and Europe in 2017.

The set kicks off with ST favourite Alexx A-Game (originally voiced at his studio in Kingston in 2016) urging listeners to 'free up' their mind and souls and let the 'good times take control'. It sets the tone for upcoming Jamaican talent Blvk H3ro to step up on the soulful party number 'Can't Wait' (recorded at Equiknoxx's studios in Vineyard Town in 2016), which has been a staple in Swing Ting sets over the last 18 months.

Slowing the pace is 'Addiction', a link up with Irish artist and frequent Murlo collaborator Gemma Dunleavy who lays down an impressive vocal over the skittering drums, muted guitar and glistening keys. The listen is interrupted momentarily for an interlude from Gavsborg whose moving voicemail is accompanied by a poignant piano line from JP aka Without Understanding. One for the clubs - 'Turn it Up' features Equiknoxx's Shanique Marie riding a stripped funky-esque riddim with ease.

Fittingly the set closes with 'Contagious' which finds two of Manchester's finest vocalists - Fox & Tyler Daley searching for an escape from the reality of our turbulent times over a refined yet sparkling production. The 12' vinyl will be limited to 200 copies.

Support from: Murlo, Toddla T, Jamz Supernova, HDD & Equiknoxx across NTS Radio & BBC Radio 1 / 1xtra.

Craig Leon revisits the extraterrestrial origins of civilization on Anthology of Interplanetary Folk Music Vol. 2: The Canon, a continuing chronicle of his early 80s albums Nommos and Visiting. Exploring the cosmic lore of Leon’s earlier work, The Canon expands upon the conceptual cycle based on the alien and mathematical relationships that backbone the creation of art, architecture, science, and music.

In 1981, producer and composer Craig Leon, known in the downtown New York zeitgeist for his production on The Ramones and Suicide’s debut albums, released Nommos, a minimal, primitive electronic exploration based on a speculative, wildly imaginative anthropology.

After viewing an exhibition of Dogon art at the Brooklyn Museum in 1973, Leon remained fascinated by the Mali tribe’s creation myth that the Earth was visited in ancient times by the Nommos, a semi-amphibious alien race who travelled from the white dwarf Sirius B to impart their wisdom to mankind.

Nommos, curiously released on John Fahey’s Takoma Records, manifested Leon’s obsession and investigation: an abstract, ascendent collection of music that could have soundtracked the interstellar visitors’ journey to Earth. Shimmering, mechanical, and anchored by an entrancing pulse of the Dogon’s ceremonial music, Nommos and its sequel, the privately pressed 1982 album Visiting, careened into obscurity.

In the intervening years, while Leon pursued his career as a successful producer, cult interest in the albums grew, culminating in the Anthology of Interplanetary Folk Music Vol. 1., the 2014 archival collection which presented Nommos and Visiting as they were intended to be heard, two sides of the same coin.

The Canon picks up where Nommos and Visiting left off, tracing the path of ancient wisdom imparted by the Dogon’s alien visitors spreading from Mali into Egypt and across the water to Greece as imagined in William Stirling’s ""The Canon,"" an anonymous exposition of cosmic law published in a nearly invisible print edition in 1897.

Though the music – propulsive and spacious – is clearly of a part with Nommos and Visiting, the alien sounds of the Nommos become more familiar to western ears and musical vocabulary as the album narrative thrusts forward. The Canon implies – through ecstatic, contemporary sound and synthesis – that the origins of Western thought, and civilization itself, lie in the great beyond.

Nearly four decades since their first collaboration on Nommos and Visiting, Leon is once again joined by his partner Cassell Webb on vocals and album production. Leon composed, and both he and Cassell performed, and produced all of the music of The Canon, consciously engaging many of the same synthesizers and programs of Anthology of Interplanetary Folk Music Vol. 1 for Vol. 2.

The second chapter in the Family Matters serie marks the 10th release on the Belgian record label 9300 Records. Via electro, through house and breakbeat, all the way to New Beat, established members offer you their view on the different aspects in the spectrum of electronical music. It's a nostalgic reference to the past, through the eyes of the present. Alessandro Parisi makes his first contribution to the label with an ominous New Beat influenced track, while Betonkust joins him on the dark B-side with his well known non compromising electro. A-side consists of dance-floor approved electro/house tracks of both Intimacy & Innershades and a sober, yet sophisticated anthem by the hand of Robert D.

Second release by Onrijn Records with cosmonaut heroes Staatseinde. Who treats us with their dystopian electro and synthwave drenched into dark distorted sounds.

Climb aboard their spaceship while “Ruimte Issues” starts with the countdown. Travel through all kinds of different space/time dimensions with “Panspermia” Finally you’ll land your spaceship in “The City”, a perfect track for all kind of humanoids in an intergalactic night club, ready to riot!

Turn the record over and our interstellar adventure continues with a classic fast electro track “Gut Gemacht” with a modern 2019 HAL’s offspring vocoder. “Blaue Augen” will give you that haunting artificial intelligence EBM / Wave vibe. The last track on the record “Glauben” is the perfect conclusion of this futuristic space adventure called DREIHEIT.

Straight out of one of the UK’s most innovative bass music hotspots, Bristol, two of the scenes fastest rising stars Glume and Phossa join the Subaltern roster with their massive debut split EP.
A - Glume & Phossa - IMHK A collaborative effort from the two talented producers, the EP opener IMHK packs double the punch as well as showing a lot of love for the details. Setting the eerie vibe of the release straight off the bat, IMHK is a surprisingly refreshing track that will light up any dance. Waterfalls of melodies meet hard bass hits, all surrounded by a masterfully-composed, rich-in-details and continuously-evolving drum beat. Get ready to walk into a medieval world of wizards, spells, castles and dragons - Glume and Phossa will be your guides.
B1 - Glume - Shriek Time to enter the dungeon and follow our loyal conductors deep underground. Relentless is the term that comes to mind when indulging in this stone cold, yet somewhat uplifting banger. Glume’s solo piece on the EP delivers pulsating bass waves accentuated by tonal percussion lines, embedded into a horror-movie-like atmosphere.
B2 - Phossa - Deathly Stare It’s Phossa’s time to tell the tale on the third track of the vinyl, showcasing some of his signature style synth lines embedded in an ever-creeping atmosphere. Heavy standing bass walls accompany the trippy cascade of sound, ever enchanting and luring the listener deeper into the maze. Will we find our way out?

Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album 'Desert Fairy Princess' which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented 'Man From Tanganyika' and makes the title track start with a mystical 'Allahu akbar' chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.

Mysterious Sydney songstress Justine recorded one album in ’79, which was never officially released. Left Ear have chosen two tracks for a 45 RPM 12” single, which they feel best highlights Justine’s unique vocal talents and songwriting ability. Here the crafty songstress wields melancholic soul and a funky Jazz inspired number with personal and reflective lyrics, both with an intimate and honest approach.

Elusive Sydney songstress Justine (Bradley) almost entirely wrote, produced and arranged her sole LP in ’79, an album that was funded by a radio station as the beneficiary for emerging talent. The music was created specifically for radio play without any intention of being manufactured. Luckily however, a friend with ties to a pressing plant known aptly as ‘Midnite Flite’, managed to sneak into said plant one evening and press up a small number for the enjoyment of family, friends & those involved.
Left Ear have decided to release what they consider to be the two most significant tracks from this release onto a 12” single, now for the enjoyment of all. The A-Side will feature the haunting ‘Wordless Songs’, a melancholic soulful number which according to Justine explores the “capacity to comprehend a partner’s internal quest for authenticity and connection”. The B-side ‘Mama Didn’t Tell Ya’ is more uplifting in both tempo and arrangements comprising an extended outro, while the lyrics remain just as personal and reflective.

This very special record is a collaboration between Amsterdam based stalwart, and frequent contributor to Young Marco’s Safe-Trip label, Darling, and his extremely talented daughter, Lexi. Here the producer, Darling, crayon proofs his studio and lets his 4r yr old daughter, Lexi run riot on the synths. The resulting submerged grooves, outer worldly melodies & psychedelic nursery rhymes are made up entirely of seqeunces recorded in by the outstandingly creative youngster with Dad making the edits and laying in the beats . This record was powered by Haribo.
BIG TIP!

Comes with insert.

A wonderful reminder of Big Boi's unparalleled prowess in the rap game. He has literally been doing this longer than some rappers have been alive.' - High Snobiety

Big Boi is one of the OGs of hip-hop and he's still reinventing himself more than two decades after entering the game.' - XXL
An all-star affair.' - Rolling Stone

Big Boi reveals June 16 as the release date for his highly-anticipated third full-length solo album and first release for RCA Records, Boomiverse.

Tonight, the seven-time GRAMMY® Award-winning, RIAA diamond-certified hip-hop luminary, producer, and member of OutKast takes the stage at NBC's The Voice for the very first time. Big Boi and Levine will team up to perform Mic Jack' live during the semifinals. In addition, he's set to debut the song's official music video in revolutionary fashion.By Shazam-ing the performance, fans can unlock the exclusive premiere of the visual. The Voice airs at 8pm ET/7pm CT on NBC.

Kill Jill' and Mic Jack' have already begun to amplify excitement for the album's arrival. Kill Jill' has racked up over 3.1 million Spotify streams to date, while Mic Jack' garnered 1.5 million Spotify streams in just a few weeks. Big Boi unveiled the songs during a high-profile Apple Music Beats 1 premiere before performing Mic Jack'' on The Tonight Show Starring Jimmy Fallon. In addition, both tracks continue to draw critical praise.

One of history's tightest and most clever rhyme mavericks, Big Boi's indelible influence courses throughout two generations of rap music. As one-half of OutKast, he achieved seven GRAMMY® Awards, sold 25 million records, and created a string of music's most influential work, including Aquemini, Stankonia, Southernplayalisticadillacmuzikand Speakerboxxx/The Love Below—which went RIAA Diamond making OutKast the first and only hip-hop artist in history to win the GRAMMY® for 'Album of the Year.' Big Boi's 2010 solo debut, Sir Lucious Left Foot: The Son of Chico Dusty, bowed at #3 on the Billboard Top 200 and received unanimous critical acclaim with Pitchfork proclaiming it one of the "100 Best Albums of the Decade 'So Far'" and topping year-end lists from Time, Paste, Vibe, and more.

His 2012 follow-up Vicious Lies and Dangerous Rumors enamored tastemakers and fans alike and boasted collaborations with A$AP Rocky, Killer Mike, Kid Cudi, and more. In 2015, Big Boi collaborated with Phantogram to create supergroup Big Grams. Their debut self-titled album was released to critical and fan delight.

It is well known that talent never guarantees any success in the music industry. This sentence summarizes the story of The 9th Creation, one of the best soul, funk, disco and boogie band to make it out of Stockton, CA.

Founded by J.D. and A.D Burrise in 1970, the 9th Creation went on for almost two decades and released 3 albums and half a dozen singles that regularly flirted with the US Charts, getting them featured on Soul Train in 1975 and allowing them to tour North America and Japan a few times over. 9th Creation regularly shared the bill with Irma Thomas, James Brown, The Whispers, The Sylvers, The Main Ingredient, Con Funk Shun and many others.

The music that J.D, A.D Burrise and their 10-12 band members created was a perfect combination of West Coast raw soul, disco and funk that resulted in a religious fan following across the globe.
To this day, The 9th Creation has been sampled by Pete Rock & C.L. Smooth, Artifacts, Quasimoto, 3rd Bass, Basement Jaxx and many others.

9th Creation was undoubtedly one of the greatest funk band of the Seventies.

Past Due Records is proud to officially reissue the 9th Creation's essential full lengths and singles, carefully remastered and all in their original artworks. 'Mellow Music' is the most sought after 7' from 9th Creation. This single marks the band's new direction and was announcing an album that remained unreleased (more on that later). This single is a boogie funk gem and both tracks are pure monsters of heavy bass, synth, horns and massive vocals. A must have that'

Archie Hamilton’s Moscow Records invites Mennie for his first solo release of 2019, featuring two spacey cuts in the form of ‘Proxima’.

Joining Moscow Records following releases on Poker Flat, Infuse and Rawax, Mennie is a regular DJ at Florence’s Tenax Club when not performing across Europe including appearances in the UK, France, Germany and Spain. Alongside Julien Sandre, the Italian producer is also one half of Jarau and together they’ve released on labels like One Records, Visionquest and Pleasure Zone.

Kicking things off, ‘Proxima’ injects acid squelches into an atmospheric background which builds to include a wonky bassline laced with echoing distorted vocals. Flip over and ‘Do That’ utilizes a similar otherworldly aesthetic, with metallic effects, electronic bleeps and rattling drum patterns, all guided by a funk infused bass.

This new imprint, TELESCOPE BUYERS GUIDE, is a spin-off from Chicago’s STAR CREATURE. The debut record is from Switzerland’s MIRLAQI with a deep space approach to funktech, “a STAR CREATURE twist combo of METRO AREA meets STRICTLY JAZ UNIT". Props/support from RON TRENT. 4 tracks.

History of Heat is an eroto-intellectual retelling of a love story. It is the scholarship of heat, and the sources of its production in the body: desire, exaltation, anticipation, fear, rage and mourning . It is a fable circulating through the nerves, pumped and distributed by its own mythologies. Through different chapters, we follow the heroine of our story from the initial desire to love, the sensual pull which oscillates between the grotesque and sacred longing of the flesh (‘L’Enfer en pleine lumière’ translates to ‘Hell in plain sight’)...to the sudden ghostlike appearance of the Other (Apparition) as a projection of the dream. We enter into the spiritual, the seeing visions and the blindness of love. ‘Animal’ speaks of instinct, the smell of the beloved, already the deconstruction of the divine back into the realm of the physical. The title track ‘History of heat’ sings the hesitation of love, the precipice of openness and the invitation of the contract: Dance with me... (This is where the metaphoric marriage is forged). In ‘Perfection’, the pressure which keeps the relationship on the pedestal of the absolute stunts and paralyses love. Unrealistic expectations of the self and the other person creates the push and pull of the not wanting what one wants and the fear to get what one has been asking for. ‘Tiny engine’ speaks of mechanical attachment, attachment to the lover as habit, as a second nature, and the call to the other person as a magnet. In ‘Ditectrice’, the madness and the folly of separation spawns war and confusion. It is the violent refusal to live without the other... the pleading with god. ‘Feed him’ follows with resignation and exhaustion. Love has become the beast of burden who eats away at itself insatiably. ‘War text’ brings forth the devastation, the peace treaty and finally the metaphysical Divorce. In ‘Guttermoon’, the vita contemplativa begins, the blood starts to cool, the scene is a ghost town. ‘Wrong god’ similarly winds down as an ode to remorse and mourning. Finally, ‘Cinema Verité’ closes out the album with a mistrust of ‘reality’: the heroine becomes a philosopher, she becomes an artist... did the relationship ever exist or was it a projection “In front of a movie screen” ?

History of Heat is an experimental narrative and cinematic pastiche of all original and self recorded material. A chaotic mix of sounds both analog and digitally produced recalls a warlike interpersonal breakdown. The mood established by the lyrical content of the piece is meant to be demanding, enclosing the listener within a unique and compelling cocoon of otherworldly sound. the Album is framed within a discursive love story which reflects larger relational problematics and interpersonal traumas. looped vocals act as incantations woven in and out of lyrical singing and spoken word. The instrumentals embrace chaos and intensity. Improvised violin and broken down beats compliment and balance the melancholic overtones which flutter above off the grid rhythms in this charged ficto-personal account.

Shimza, one of South-Africa’s shining talents, makes his return to Cadenza with ‘Eminence’, a burning compound of profound percussions and late-night rapturing synths. This Gauteng-born artist is one of the most celebrated African electronic musicians and has garnered the reputation of the “Effect Master” and “Vinyl Assassin” for his technical prowess and intricate mixing abilities. The vibrating drums and persistent arpeggios of ‘Eminence’ make for a captivating peak-time anthem, offering the nostalgic essence of Detroit’s late-nineties splendour. As the EP journeys to ‘Dancefloor Keeper’, the slick trance-inspired stabs and permeating bassline expose its ominous nature as it swells to a seismic drop. On the B-side, Shimza expresses his creative flare with ‘Kunye’; a hypnotic cut that blends the spirit of futuristic synthwave with the soul of African tribalism. ‘Warrant For Arrest’ is a charged number, driven by a snappy compressed kick drum and chiming sequences. As its percussive forces fall away to the second break, a monstrous siren and obscure vocal cuts take focus, guiding it to its summit. The penultimate offering ‘MSC’, is a euphoric gem that flows with expressive phrases and evolving synth pads. The EP’s digital-only bonus track ‘Mirrors’ shuffles effortlessly with a funk-tinged riff, maintaining a high voltage pace, closing the EP in an emphatic manner. Shimza has been on a mission to make 2019 his biggest year to date. Launching his One Man Show concept in Soweto in 2009 to help raise funds for underprivileged children, the project has now matured into an annual event that draws in over 25,000 people each year, hosting some of the country’s most in-demand artists, such as AKA, Black Coffee and Black Motion. The show has seen international editions in France, Spain and Portugal and has helped position Shimza as one o

For our fourth installment of the “Roar Groove meets Dirt Crew” series we present you this new set of shimmering and dubbed out Revenge cuts. After the last episode Graeme has been very busy working his “live” studio setup to come up with a whole range of new jams of which we have selected the below four tracks. We think these best represent his unique style and once you hear these in a club you instantly know “That’s a Revenge Tune”, something we have always loved about his sound.

The opening “Like an Ending” is a trippy, melancholic-euphoric track driven by a Moog Voyager bass line and classic House keys and vibe. The original recording was an 11 minute live take that he has been able to capture the essence off and narrow it down to this thumping club jam.

The A2 is all about those good times and it reminds us a lot of early 90s “French Touch”, filtering House at it’s best, it keeps running around in your head and with it’s slower pace we are sure this one will do especially well on the early morning dance floors and high summer sun drenched beaches.

On the other side we enter darker and more dubbed out territories. Here is the first track in Graeme’s words “This one had been knocking around for a couple of years in various forms, but it wasn’t really until I stripped it all back and let the arpeggiated synth do it’s thing that it really seemed to gel. It’s really the rhythm of the whole thing, I ended up scrapping extra hi-hats and stuff that was just getting in the way.” And we have to mention that we personally love that marimba! This track is like a spaceship floating the skies and eventually touching down.

To close out this new work we have one of these typical stab-y Revenge chuggers, loose and floating, synth lines underlaid by a distinctive beat, it has kind of a breakbeat feel to it and with the improvising on those synths and melodies on top of it all it’s a true Dub House track.

Summer is here and this record sets the pace and tone! Enjoy!