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There is geological time and deep-space time. The natural world's time, and quantum time. Humans started measuring time with the stars and seasons. Then came hourglasses and sundials. The first mechanical clocks weren't in Europe until the late 13th century. Then came industrial time, a wristwatch for all and then everything had a time. A time for everything. All feeding into our recently digitised time and its marching nanoseconds. Let us not forget however another way to measure time: That would be K&D time.
Yes, you can rush, but isn't it so much nicer to amble? This onception of time may well have its roots in those smoke mists, softly blowing through the pre-history of 1995, and if that was time - then we need space. In particular, one Viennese front room that has turned its bass bins out to the cosmos. That sweet smoke, shrouding the desk and sampler. A few old keyboards (as a friend skins up at the back) unnoticed on the couch - just passing through...
Those days of K&D time had been thought to have gone. But one of times tricks is to hide itself in music. Not long ago (after a box of DATs had been found, and a DAT player prised back into service) back through the music wormhole our heroes fell into that smoke laden room of 1995. The remix time hadn't arrived nor the intense touring schedule. It was before the K&D sessions release and all that came with it, before the solo projects of the Peace Orchestra and Tosca. This was a time before all of that. A time for literally living in the studio and experiencing the joy of creating tune after tune. Just the sound and the smoke and no boundaries.
It was before people started asking about when the album was coming out. Which developed its own time specific answers. The 90s answer was soon, 00s answer was not sure and then: never! from 2010 onwards. The truth was, an album had been finished by the spring of '95 and all recorded onto DAT and placed in a box. K&D pressed up 10 copies and gave 4 away to some suitably eccentric individuals. Then the room's doors opened and in a tremendously big cloud of smoke time rushed in, K&D rushed out, and the years went rolling by. The days got filled with remixes, touring and life.
Then in early 2020 that chance moving of a box at the back of a room exposed the DATs and their time transporting properties. As K&D went through them they ended up comfortable and back in the room and that wonderful haze of 1995. The music was transferred from the DATs and K&D painstakingly rebuilt every molecule that made up the original 10 copies. From the very first takes of the mixes printed onto tape, to the solid slab of black virgin vinyl, to the abused by many plays, white cover. Even down to the labels that says "'Unverkäufliche Musterplatte" (Testpressing - Not For Sale) in rather rude German.
It now looks, feels and sounds pretty much exactly the same as those original 10 copies did in 1995. The only thing that couldn't be don is the original clouds of smoke those 10 copies were bathed in. That will be left to the listener to wrap it in the fresh harvest of 2020. In one way it's a musical time warp space travel. In another, if the music becomes classic and timeless, then it's of its time, whatever the time. So as the rooms bass bins are once again turned out towards the cosmos, K&D are happy and proud to release what they thought were lost moments. Drop through the worm hole, take your place on the couch. The friend who is skinning up, always just passing through, listening to an album for the future called 1995. It all makes sense if you measure in K&D time.

This album is a tribute to Pastor Wylie Champion, who died while we were in the process of releasing this, his first record, and his wife, Mother Champion, who died a few months earlier. We met Pastor Champion a few years ago while we were putting together another release, The Time for Peace Is Now: Gospel Music About Us. We found him in a collection of YouTube videos from the 37th Street Baptist Church in Oakland, California, put together by the pastor there, Bishop Dr. W.C. McClinton. There was quite a lot of talent in those videos, and among them was Pastor Champion whom we liked so much that we decided to make a record with him. Pastor Champion wasn’t like any other pastor you’ve ever met. As an itinerant preacher, a carpenter, and a father of five, he made a name for himself traveling up and down the California coast with his electric guitar. He traveled alone and he played alone, well into his seventies. The easiest way to describe him would be as an outsider gospel artist. Other than these bare facts, we never learned much about him—except that he was also the brother of the well-known soul singer Bettye Swann. In fact, most of what we knew about him we got from his sister’s Wikipedia page. We decided that because we met Champion through the 37th Street Baptist Church, we would record him there too. We recorded him live on a two-track Nagra reel to reel, as we wanted the album to be analog in the style of traditional gospel recordings. Over the course of two evenings (when the workday was done), Champion taught his band—musicians who had never played together before—a handful of songs, a small selection of the nearly 2,000 fragments of songs and sermons that he regularly performed. We listened in as they all got more familiar with the material and each other over time. At some point, we mentioned to Champion that he would have to be interviewed by someone to write notes for the album. He wasn’t too pleased with this idea, saying he’d had a hard life and he didn’t want to talk about it. Over the next few months, we kept asking Champion to talk to someone about his life. He told us that he didn’t want to talk about growing up in Louisiana, his mother being accosted by the Klan, or that his father was a gambler. He didn’t want to talk about being jailed for 90 days for using a whites only bathroom, being in gangs or having a street name. We told him that was fine—he could talk about what he wanted to talk about. And he told us that he didn’t want to talk about anything. You know, there are times when you make a record where it’s already made in your mind before you start. But then in the end, the record you thought you were making is not the record you made. We spent years puzzling over this one, trying to figure out what it was saying, who it was for, and how to get people to pay attention to it. But Champion knew that this record wasn’t going to be for everyone. He didn’t really care. The important part for him was just getting the message out there in the same way that he always had, travelling alone with his electric guitar. “I want to say what I mean,” he said, “be practical, precise, to the point, and, at the same time, diplomatic.” In other words, he just wanted to be a good man. God bless Pastor Champion and Mother Champion, peace be with them and their family. Love to all.

Deluxe Moon Phase version includes a gatefold sleeve, poster and an extra track on a flexidisc.
Unlearning, the breathtaking debut from Glasgow’s Walt Disco, is steeped in metamorphoses, a stage show in two acts. It covers flings and romances, identities and bodies and change, profound familial love, and - of course - Hollywood glamour. The album plays out like a musical, with an emotional arc and even an instrumental interlude, winkingly titled ‘The Costume Change’.


While the themes of the album are universally relatable, Walt Disco’s gift is in the unique experience of discovery and heartbreak between queer people - something that frontperson James explores in depth on songs such as ‘Weightless’, ‘Be An Actor’ and ‘Hold Yourself As High As Her’. In Walt Disco’s eyes, it’s never too late to become what you might have been and there are plenty of possibilities to explore on Unlearning.

Repressed! When asked at the time about what to expect from this collaboration with Edo G, the legend Masta Ace fired back without hesitation: “People are gonna be surprised when they hear the mixture of styles. We both have a different approach. It’s like the old Reeses commercial... Ya got peanut butter walking down the street. Coming from the other direction is chocolate. Someone trips and blam, a peanut butter cup was born. Something new and amazing was created that no one had ever thought of!” When one thinks of Boston and New York, the first thing that comes to mind is the infamous Red Sox/Yankees rivalry. But this time when Boston met New York, it was a collaborative effort to bring the world one of the tightest Hip Hop efforts of 2009. Two of the game’s most exceptionally creative and well-rounded artists, Edo. G and Masta Ace brought the two cities together with Arts & Entertainment. Like their home cities, these artists have a long history and have influenced the world. Hailing from Brownsville, Brooklyn, Masta Ace got his proper introduction setting off the quintessential Juice Crew posse cut, “The Symphony.” Not long after, Edo G’s debut Life Of A Kid In The Ghetto and it’s lead single “I Got To Have It” went to the top of the Billboard Rap Singles chart with heavy rotation on Yo! MTV Raps. Both Ace and Edo have continued to stay relevant, drop albums, tour the globe, and influence up and coming artists everywhere. Joining the duo on Arts & Entertainment was a notable list of prominent artists from NYC and the Bean including Posdnuos of De La Soul, Large Professor, DJ Spinna, KRS-One, Marsha Ambrosius, Mr. Lif, Akrobatik, Chester French, Double O of Kidz in the Hall, M Phases, and more. The album continues to be a fan favorite to this day, especially the never-gets-old cuts “Little Young” and “Dancin’ Like A White Girl,” and this re-issue is sure to be well received once again.

During 1978 to 1980, Fashion released one album and a handful of indie club hit singles mixing Punk & Reggae vibes. They toured the US extensively supporting The Police in 1979. Limited Edition of 800 copies 2LP set with printed inner bags. All tracks completely remastered. Contains every studio recording of the first lineup of Fashion including US singles. Includes unreleased tracks. Liner notes from lead singer & Guitarist Luke Sky. Fashion went through several line-up overhauls during its initial existence between 1978 and 1984. John Mulligan (synthesiser, bass) and Dik Davis' (drums) were constants, but the band's frontman changed with each of the band's three albums. Post-punk years: Fàshiön Music Fashion was formed originally as Fàshiön Music, in Birmingham, England, in 1978, and consisted of John Mulligan (bass, synthesizer), Dik Davis (drums), and Al James (vocals, guitar). James became known as Luke Sky, or simply Luke or Lûke (short for "Luke Skyscraper" - a reference to the Star Wars character Luke Skywalker and the fact that James was tall and thin), while John Mulligan was known simply as Mulligan and Dik Davis simply as Dïk (or "Dik Mamba" on their debut single). In 1978, they also founded their own Fàshiön Music label; from this point forward, the band was generally (though not completely consistently) identified as Fashion, as distinct from the name of their self-owned label. Fashion released their first two singles ("Steady Eddie Steady" and "Citinite") as independent issues on the UK in November 1978 and June 1979 respectively. The group was quickly picked up by I.R.S., who put out a third single in the US in September 1979, "The Innocent". Their sound was varied, playing punk, post-punk and indie repertoire, although Mulligan at that time also had a synthesizer which later characterized the future synthpop years of the band. Still signed to I.R.S., in 1979 they recorded and released their first album, Product Perfect. All three members were credited as having written the songs collectively. Between 1978 and 1980, Fashion played shows with performers such as Toyah Willcox, UB40, Hazel O'Connor, & Billy Idol, who later became well known. A then-recently formed Duran Duran opened their shows; they toured the UK with U2, both the UK and US with The Police, and opened for The B-52's on their first British tour. In March 1980, no longer associated with I.R.S., Fashion released their "Silver Blades" single, again on their own Fàshiön Music label. Later in 1980 they also released one more song, "Let Go", on a Birmingham bands compilation called Bouncing in the Red (EMI). In June 1980, after a last gig in London with U2, Luke James left the band, and later moved to the United States.

Malik Hendricks has carved a place for himself in the New York City club scene with a string of carefully composed releases on musclecars’ Coloring Lessons imprint and his own Money Cat Records, each full of gems mined on the line of deep house and deep listening.

Malik continues this run with Blue Flame, his debut on NYC label Bliss Point. Blue Flame finds Malik in full control of his craft, offering an alchemy of warm, in-the-pocket house grooves, live instrumentation and sparse, soulful vocals that build masterfully toward the dancefloor catharsis we’re all after.

Very limited new repress coming, note new price. It’s unusual for an act to hit its peak after four decades. Yet here it is. The band’s climb to become Britain’s most dazzling live band - shows are played at full energy without the breaks lesser combos need to breathe, drink or chatter – was unexpected, and public awakening to their humour, skill and brilliance demands revision of post-punk history. The Nightingales emerge as the industrious ant to their peers’ workshy grasshopper personae, appearing victoriously at the finish line to puzzled realisations that they’d ever even been in the race. The Nightingales have notoriously had a new label for each new album, a fact which might reasonably call for consumer caution, but they don’t fit in with anything like a scene, they speak their own musical language, and while they bust out slogans about being “slightly superior to others of their ilk” . . . the truth is, they have no ilk. Faust’s Hans-Joachim Irmler adds keyboards and The Lovely Eggs’ Holly Blackwell’s languid voice features on one song, but the album’s real shock is that the band has now gelled to an unspoken, nearly psychic interplay. Captain Beefheart, one of Robert Lloyd’s musical heroes, is best known for the difficult-but-classic Trout Mask Replica, and like that album, this one contains nary a ‘hit’, yet here every song sticks in the brain and grooves . . . outclassing Beefheart’s masterpiece with its effortless charm. John Peel noted, “Their performances will serve to confirm their excellence when we are far enough distanced from the 1980s to look at the period rationally and other, infinitely better known, bands stand revealed as charlatans". It’s doubtful he would have bothered with such a pre-emptive defence if he’d been able to witness the explosive growth of the band during their second incarnation. Perish The Thought will be promoted by a far-flung tour, from Scotland to Serbia, with some dates already sold out. Guest supports include Stewart Lee, The Wolfhounds and Near Jazz Experience. Several videos for songs from the album were made.

7" Black Vinyl limited to 1000 copies.

Teenagehood, brotherhood and a genuine love for alternative music has united THE GOA EXPRESS from the off. Hailing from the industrial town of Burnley and adopted by the Manchester culture carriers, their teenage years can be viewed as something of a hedonistic pilgrimage into the underbelly of suburban rock and roll- their first gig having been 3 songs blasted out their mates garage, the next on top of a local vintage shop where the floor nearly caved in: “when there’s fuck all, you make do with what you got”. The intensity of this friendship has resulted in the occasional bust up along the way, yet it only adds to the burning chemistry that the band offer on record and on stage. Together, brothers James Douglas Clarke (Guitar + Vocals) and Joe Clarke (Keys), along with Joey Stein (Lead Guitar), Naham Muzaffar (Bass) and Sam Launder (Drums) all contribute to a fuzzy wall of diverse sound, becoming harder to pin down with their constantly evolving, psych-umbrella’d, rock and roll. What sets THE GOA EXPRESS apart from other musicians who sit comfortably within scenes is that their identity as a band has been growing organically long before the 5 of them decided to pick up instruments and teach themselves art of killing time. Their genuine joy in the everyday; their attitude and antics seem to hark back to the glory days of the NME- if they talk about a night out, you want to be there because these lads ooze charm and wreak havoc. This purist, old school approach to creating music through unified experiences and stimulated good times is married with the plain fact that they are very much young people of this generation, and while they see its flaws its hyperreality, its sheep-like tendencies, they still understand the importance in the immediacy of pop music: of a banging riff, or a glorious chorus and how effective this can truly be, and they want everyone along for the ride. With influences ranging from Spacemen 3 and The Brian Jonestown Massacre to French existentialism, from Beat Literature to long hours working at the Bookies to the journey into the sunrise on the night bus home, it is their ability to be all these things at once which makes THE GOA EXPRESS a guitar band for the 21st Century. Nothing is ever a compromise because they are so unapologetically themselves in everything they do- proud Northerners with a DIY foundation that aren’t afraid to look into the often dim future and see themselves shining brightly in it, unforgiving and unpretentious. So far, the band have released 3 singles with great success. The first: ‘Be My Friend’, produced by Ross Orton right next Sheffield’s famous ‘City Sauna’ brothel, presents itself to us as a cheeky, snarling pop song, holding undertones of raw cynicism laden with psychedelic sunshine. Ross Orton’s studio was also right next door to where the band recorded their last single ‘The Day’ with Nathan Saoudi of Fat White Family at ‘Champ Zone.’ Both these producers have been able to give these instant pop classics a grittier feel, capturing the essence of the unfettered lifestyle the band were living at the time that they were able to capture themselves in the music video for ‘Be My Friend’. After signing with Ra-Ra Rok, (WU-LU/Bingo Fury) the band released anthemic summer hit ‘Second Time’, that went straight to the 6 music B-List before quickly heading up to the A-List 2 for 2 weeks. This was followed by the release of its B-Side ‘Overpass’ that almost immediately caught the eyes and ears of BBC Radio 1’s Jack Saunders, who had the band on his ‘Next Wave’ Segment. Closing the year that saw them play to 1000 strong crowds at festivals like Latitude & End of the Road, the band headlined their biggest headline show to date at Manchester’s Gorilla. Its fair to say that this really is only the beginning.

Catalina Matorral is a duo; Marion Cousin and Borja Flames make up its double head and four hands. At the beginning of the 2010s, they were called June et Jim -- they released some disturbing EPs before joining the label Le Saule (a small, chivalrous table whose holy grail is everything unheard, where folk- singing is avant-garde and avant-garde is synonymous with enchantment). Their first LP, Les Forts (2012), evoked the songwriting of indie-hobos inspired by Latin America, contributing to the rejuvenation of French music. Noche Primera (2013) went even further by vibrating in various reveries, from African songs to Spanish medieval music, from Purcell to Bach. It blew hot and cold under a psychedelic candlelight. The record in question has been maturing for seven years in eccentric barrels, marinating in the shadow of Marion and Borja's respective evolutions, nourished by their individual obsessions. Marion fixated on songs and dances from the Iberian Peninsula. This gave birth to a minimalistic, organic record featuring the cellist Gaspar Claus, where humming trembles among frowning pizzicatos, thin drones and throbbing arpeggios. She went on to release another album with the electronic duo Kaumwald, an oeuvre at the crossroads of vernacular narratives and experimental music, simmering everyday songs in an insolently modern production. Meanwhile, Borja leaned towards an intellectual, synthetic and furious pop; made two albums to awaken the dead, somewhere between Moondog and Battiato. They are two conceptual, electrifying and dance-inducing recordings for the phosphorescent masses. ...chimeric narration, heady verses, pop fragments, horizontal synths, distorted technologies. One would think they're listening to an opera composed by Robert Ashley or Laurie Anderson, based on an improbable libretto written by anthropologist Jeanne Favret-Saada, and performed by holograms of Brigitte Fontaine and Areski -- who unexpectedly regurgitate bits of blunt folk, binary jazz, baroque songs and ghostly madrigals. Micro-events, great enchantments. This record was written and recorded by two people, tinkering feverishly for seven years. It was blessed with the furtive appearances of faithful friends: Gaspar Claus played the cello; Igor Estrabol the clarinet, trumpet and flugelhorn; Renaud Cousin the drums; Ernest Bergez played the violin and whimsically mixed the tracks like a bonesetter-scientist. At the crossroads of worlds, eras and moods, Catalina Matorral invents a curiously rural science fiction that confounds poetry with white magic and puts French music in a permanent tension between the cosmos and manure...

This collection is drawn from throughout the 60's, though it does not
entirely fit the commonly held belief that Northern Soul records are all
ultra-rarities, because half of the tracks here actually were major hits in the US, and four of them were top twenty entries! Included among the twelve artists are people who maintained long careers, some who had great success as writers, and one who went on to have a major No 1 in the seventies. We finish with Charles Sheffield (aka Mad Dog or Prince Charles) and his 1961 gem It’s Your Voodoo Working. A well known track among some classic hits and some perhaps lesser known songs, which is the nature of this must-have collection.

LA FAMILIA AUFLAGE!!!

GOLD, the follow-up to Alabaster DePlume's widely-acclaimed, 2020-
released cinematic instrumental LP To Cy & Lee: Instrumentals Vol. 1,
introduces the world to the artist’s truest self.

That is... though DePlume’s now known across the globe as the saxophonist who created that collection of wonderful, wordless music, he’s most known to fervent fans in his home zone of London, UK, as an outspoken poet and orator, beloved for his inspiring words of encouragement and sing-a-long-able songs about vulnerability, humanity, and courage. GOLD is a sprawling double album that finds DePlume expressing both sides of his artistic character beautifully: (1) an articulate singer and songwriter who invokes the melodious crooning of Donovan as much as Devendra Banhart or Syd Barrett, whose tunes are almost like mini-sermons, full of existential comedy and spiritual enlightenment; and (2) a brilliant composer of simple, soothing, and viscerally nourishing instrumental melodies, with a gift for expanding them into intrepid collective improvisations, led by a delicate and distinguished saxophone tone that conjures the fluttery sweetness of the great Ethiopique Getatchew Mekurya.

Packaging specs: Black & 'Eye of the Sun' coloured Vinyl 2xLP in Heavyweight Gatefold Jacket with Gold-Foil Stamp over Reverse-Board print, with Insert Sheet, IA OBI Strip and Dome-Pattern Inner Sleeves

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas

It was during his time with Miss Pottinger that Ossie began to produce records for himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

“But Delamere must be considered as a music street sheltering as it does such artists as Junior Byles, Don Angelo, Triston Palma, Phillip Frazer and producer Ossie of the Black Solidarity label…” Beth Lesser
And the man who had made his name in the business selling other people’s records now became one of the most important and influential record producers of the era.
With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

Rock Steady Cool is another fine collection of Rocksteady hits. The ‘Cool’ subtitle could not be more relevant to an album, as around 1966, an extreme heatwave hit the Jamaican island. This would not stop the all night dances from going ahead but the jerky Ska Rhythms proved too strenuous of an activity to partake in, so a new slower beat to suit this extreme weather had to be found and the ever resourceful music entrepreneurs came up with the slower paced beat and Rocksteady was born.

This two-year Rocksteady period ran until 1968 and would see some of the power escape from the big three producers, Clement ‘Coxone’ Dodd, Prince Buster and Duke Reid. It was time to make room for a new wave of up-and-coming producers that also had something to offer the people. Such names as Joel Gibson (Joe Gibbs), Sonia Pottinger, Derrick Harriott and most prolific of them all, Mr Bunny Lee would step forward and add some new musical touches to the island.

Rocksteady was an inspirational and somewhat overlooked sound that provided us with some outstanding music. So, sit back and enjoy some Rocksteady straight from the dances of Jamaica.

Hope You enjoy the set….

Sublime funky jazz album by Harold Vick under the Sir Edward name - first time reissue from the 1973 edition on Funky Drummer Bernard Purdies short lived Encounter Label !

One of the great unsung saxophone hero's: Harold Vick worked as a sideman with Hammond Legends Jack McDuff, Jimmy McGriff, Big John Patton, and Larry Young. He played on and off with Walter Bishop, Jr. and also worked with Philly Joe Jones, Howard McGhee, Donald Byrd and Ray Charles and appeared with Dizzy Gillespie, King Curtis, and from 1970 to 1974 with Aretha Franklin. He played in Jack DeJohnette's jazz-rock band Compost from 1971 to 1973,recording with them in 1972 which is about the same time as this recording and that is probably the reason it is under the pseudonym of "Sir Edward". Add to that an absolutely top notch band, including bassist Wilbur "Bad" Bascomb, Jumma Santos on percussion and the mellow vibes of Omar Clay and this is a must have soulful jazz outing.

The music is a funky mix of some of the big Soul tunes of the day, with versions of Donny Hathaway and The Stylistics and a nod to the CTI stylings of the day with a get down version of "People Make The World Go Round".

Equal parts Sheffield bleep, fractal IDM and interstellar ambience, Hyper Nu Age Tekno sees Taro Nohara (aka Yakenohara) plotting a star map on a faded rave flyer. Let the billionaires blast into orbit while you explore your inner space with Growing Bin.

From the LP's earliest moments, the whomping subs and crystalline chimes of "Space Debris", it's clear that we're a long way from Hamburg. Taro pilots this craft on a deep space exploration way beyond the run out groove, to a place where heartening chords herald a twin sunrise and any broadcasts are lost in translation. The polyrhythmic pulse of "Ill Ell" follows, its concentric chimes and rapid fire kicks summoning the teknoguild to a watery altar in the engineering department. Sticking with interstellar mysticism but taking a turn for the transcendent, "Baker Baker Paradox" spins Reich-ian repetition into a graphene gossamer embellished with chrome, crystal and shoegaze shimmer.
The B-side begins on the observation deck, bathing in the beauty of "Celestial Harmonia"'s sci-fi exotica, before the entheogenic "Use Your Head" prompts a delirious dash to the holodeck. Laying serene pads over a techy 4/4, Taro turns out the most danceable and dreamy track on the LP. As ambient chords ring out into the aether and rhythmic pulses shift out of phase, "Airplane Without People" is the loading screen for your virtual fantasy, soon rendered through the woody percussion and spheric bass of "Music For Psychic Liberation". Leave your body behind as you pick mushrooms in a CGI forest.

Taken from "Echoes Of Africa" the most requested track from the album, "People All Around The World, Can Make It" is dealt with themes of climate change with their strong afrobeat/funk personality, are intoxicants, choral aphorisms, reminiscent of American funk bands of the '70s. It doesn't take much to change direction, to erase the negative effects caused by the recent years' globalisation …We can Make it!