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We have a very limited amount of these available now for stores. 4LP boxset - white vinyl - edition of 300 - includes: The Dream Derealised LP, Lightnesses I & II LPs, Near Future Residence LP. It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.” Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such, but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.” Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

In 2021, nyMusikk's annual festival of sound, "Only Connect", commissioned an interpretation from I LIKE TO SLEEP of the first movement of Olivier Messiaen’s Turangalila symphony. A project which initially led to a 15-minute piece performed at the festival, with the trio re-writing the music of Messiaen, but also rewriting the music of their own. Messiaen as a reference and compositional tool may be heard in the album for those really listening for references. With “Sleeping Beauty” the trio also explore even heavier riffs than before, seasick grooves and tempi, and deeper ambient soundscapes. Through extensive improvisation, the effects and processing of the sounds are way more extreme than before, almost awakening the sleeping beauty. During the pandemic, the band also had to find new ways to write music without the presence of every member, introducing the vibe-samples from the old Mellotron sound gallery to the band. Quarantillity, one of the themes which appears several times throughout the album - almost used in a similar way as the flower theme in the Turangalila symphony - is a direct result of sitting alone in quarantine, playing the Mellotron while listening to vibraphone extraordinaire Bobby Hutcherson. This theme could also be seen as a continuation of the previous album tracks named Pause I & Pause II from “Bedmonster” (2017) and “Daymare” (2020). Like “Daymare”, “Sleeping Beauty” was recorded in Duper Studio in Bergen, co-produced with the band’s all-time favourite sound wizard Jørgen Træen. It is also mixed and mastered by Træen, making the music sound as brutal, intense and intimate as experiencing I LIKE TO SLEEP in a live setting. “Infernal, scrotum-shrivelling energy sorely missing in today's music” said Jazzwise about their previous album, mentioning King Crimson, Magma, Tony Williams Lifetime, electric Miles and 60s free energy jazz as possible references. But that’s only one side of the story, there are plenty of quieter moments at work here, and the dynamic range is wide. Nicolas and Øyvind first met in high school in Trondheim before they joined up with Amund in a youth big band. It soon became apparent that they shared the same musical background centered around 70s progressive rock, classical music, jazz and improvisation. Taking their name from a Thelonious Monk quote, I LIKE TO SLEEP was formed, first for fun, but soon with higher ambitions, winning the prestigious "Young Jazz Musicians of the Year" award in 2018. Still only in their early 20s and still studying jazz at NTNU in Trondheim, they are also active as composers, freelancers and in other projects and are among the most promising on Norwegian scene. Amund Storløkken Åse – vibraphone and Mellotron Nicolas Leirtrø - baritone guitar, bass-VI and Mellotron Øyvind Leite – drums Tracks

Celebrate the technical expertise of the world's finest LP pressing plant — Quality Record Pressings — with the finest LP sampler ever assembled!

The Wonderful Sounds Of Quality Record Pressings includes music hand-picked by Acoustic Sounds CEO Chad Kassem and classical music tracks chosen by the team at Reference Recordings.

Every song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary for one of the absolute leading brands in analog high fidelity than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R&B and female vocal. From now on, you'll only need to carry one demo record around with you.

Vinyl expert Michael Fremer, of Analogue Planet and Stereophile, gives you a track-by-track tour of the history and production of the songs on this special album.

What separates our world-renowned Quality Record Pressings LPs from other manufacturers? Since Acoustic Sounds CEO Chad Kassem launched QRP in 2011, the focus has been on producing consistently virtually silent vinyl playing surfaces, as well as reproducing details that were hallmarks of vintage labels — the "deep groove" label of Blue Note LPs, for example.

The craft of pressing fine vinyl is perfected in such details. Such as plating lacquers within 24 hours of their arrival at the plant. Cut grooves are prone to change with temperature fluxuations, high humidity and time. The sooner that lacquers are plated, the better the fidelity of the final pressing. Other keys include using a proprietary silver spray formulation, made fresh daily. And incorporating computer microprocessors on our presses to precisely control press functions with absolute precision. And an imbedded temperature sensor in the dye cycles the press with just as much control. The result — more consistency in each LP, high fidelity and reduced distortion. The ultimate sonic advantage.

The story of Del cuarto rojo (From The Red Room) began in March 2020, when the Peruvian composer and percussionist Manongo Mujica received a call notifying him that the visual artist Rafael Hastings, his friend of almost half a century, had passed away. Since then, and in the midst of the pandemic, Manongo Mujica began a personal journey searching for sounds, which has resulted in a new set of pieces that evoke the memory of a friendship. Del cuarto rojo (From The Red Room), subtitled Homenaje sonoro escuchando la pintura de Rafael Hastings (Sound Tribute Listening To Rafael Hastings' Paintings), is Manongo Mujica's new album, and it has also motivated the preparation of a new show by the dancer and choreographer Yvonne von Mollendorff, wife of Hastings. The history of this friendship dates back to 1974, when a young Manongo returned to Lima, after ten years living in London, while young Rafael Hastings and Yvonne von Mollendorff settled in Peru after a long period in Europe. Since then, the collaborations between these artists have been continuous, always marked by an experimental impetus. The attitude of listening to images and painting sounds was more than a metaphor and became a code that identified them and a way of working, where the crossing of disciplines set the tone, both in video works and in unusual visual / conceptual scores, works of dance and experimental music, in the context of a creative effervescence that renewed the arts and music in Lima in the 70s. Del cuarto rojo is an album that integrates many of the musical resources developed by Mujica. It is an amalgam that well sums up his own language: from the creation of environments with extended techniques and objects, to experiments in jazz fusion; from the use of field recordings and sound montages to compositions with string arrangements: everything around the hypnotic pulse of percussion and drums, which oscillate between moments of subtlety and explosive improvisation. The album features the participation of outstanding musicians such as Pauchi Sasaki (violin), José Quezada (cello), Terje Evensen (electronic effects), Jean Pierre Magnet (Saxophone), Cristobal, Daniel and Gabriel Mujica (sons of Manongo Mujica, on percussion, string and wind arrangements). It is published in vinyl LP and includes a full color 12-page booklet with a sample of Rafael Hastings' visual art, which also illustrates the album cover.

Today, Toronto-based producer Sven Lochenhoer releases his quirky two-track ‘It Knows’ EP, out now via Dirtybird.

Since 2017, Sven Lochenhoer has been a consistent character among the flock, popping up on various Dirtybird compilations and sub labels over the years. Diving into the depths of house music, Sven Lochenhoer’s ‘It Knows’ EP is reminiscent of Dirtybird’s 2005 origins. Thoughtfully produced, the EP consists of its edgy, club-centered title track and experimental downtempo companion ‘Rain Check’. Each layered with gentle piano melodies, warm basslines, and wonky vocal effects, Lochenhoer has crafted an intricate duality through this two-track project.

The rising Canadian producer first appeared on the scene six years ago. Since then, Lochenhoer has gone on to release records with such labels as Dirtybird, Trippy Ass Technologies, and Dumb Fat. Through his original productions and Splice sample packs, Sven Lochenhoer continues to earn the favorable regard of artists and aural aficionados alike.

SA Recordings present a new EP and sample library from the acclaimed experimental cellist and composer, Mabe Fratti and multidisciplinary experimental artist and musician Concepción Huerta. SA are pleased to announce the first single from their upcoming release, Estática, a four track EP which effortlessly transposes between light and heavy, electronic and biotic sounds. The first single, Estática is a heart-wrenching cello heavy meandering composition classic to the styles of Fratti and Huerta. This will be followed by the full release in early December 2021. The release follows Fratti’s critically acclaimed Será Que Ahora Podremos Entendernos described by Pitchfork as blooming with ecstatic synth riffs and spirited cello, the record captures the sound of a mind abuzz. Huerta and Fratti, promising and ambitious artists in their own right, come together in Estática to combine their deeply experimental and progressive practices.

MORE COLLECTIBLE CLASSICS ON VINYL FROM THE UKs BIGGEST GARAGE BRAND PURE!

A second instalment of the best-selling UKG compilation of all time, returns with a stunning stack of high value collectible classics on DJ friendly vinyl.

Pure Garage Collectible Classics Volume 2 is jam packed full of funky UKG flavas from legends of the scene including Zed Bias, Anthill Mob & Scott Garcia remastered and cut to two slices of heavyweight black vinyl.

The platinum selling compilation brand needs no introduction and these first ever exclusive boutique vinyl releases are truly something very special.

Kicking off this compilation is a collaboration between Zed Bias & KC, the Let Me Know (Zed Bias Remix) is a pumping UKG stomper featuring a catch vocal hook & succulently squelchy analogue bassline. Taken All My Time by Industry Standard features the soulful vocals of Abi, this is the DJ Deller Mix, copies of which have been selling for three figure sums on the resellers market!

The flip side opens with another high value sought after track, Strictly Dubs with Realise. Followed by a tune that received an extremely limited release back in the UK Garage heyday of 1997. I Need You Baby by Underground Solutions is selling on reseller sites for as much as £70!

Anthill Mob come with the goods on side C with Blinded, a must for any UKG DJ set, backed up with Special Request from DJ Double G.

We keep up the pressure on side D with Groove Committee’s track Heat + Soul, a prime example of UK Garage with pumpin' vocal snippets and funky sampled loops. Finally, this release closes with a Waiting by Scott Garcia which previously got a very limited vinyl release back in 1997.

PURE GARAGE COLLECTIBLE CLASSICS VOL 2 will be released on double vinyl on 16th December 2022!

LOCUS unveil the second instalment in their VA series ‘LOCUS Trax’ with fresh material from Mathijs Smit, LaRosa, BODJ, and Nolga.

Continuing to quickly grow as one of the most-loved emerging labels in the game, LOCUS looks set to go from strength-to-strength throughout the remainder of 2022 as the FUSE family builds yet another label offering quality and consistent material from across the house sphere. Having launched their new various artist series LOCUS Trax earlier this year, TBC welcomes the arrival of the sophomore offering with four fresh productions as Groningen’s Mathijs Smit, Brooklyn’s LaRosa, Athens’ BODJ and Manchester’s Nolga all make label debuts.

Mathijs Smit’s ‘Green Hill’ is a slinking cut guided primed for peak time fun as slinking acid tinged low-ends meet playful samples and sweeping pads, while ‘Amelia’s Groove’ sees LaRosa work shuffling drums amongst warped vocals and rich melodies. Next, BODJ veers towards spacey sythns and colourful electronic motifs across ‘Back To Party City’, before Nolga lays down woozy chords on top of a no-nonsense bassline to close the show.

The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality.



Babel was Cos' third long playing release, issued in 1978. It represented a new step in the band's evolution with the addition of new influences that ranged from musique dodécaphonique, minimalist droning, or even a hint of disco, without turning their backs to their earlier love for Canterbury sounds or more conventional jazz-rock. Dirk Bogaert, Francis Cahen and Marc Moulin all played in its sessions, making this a superb sample of what was going on through the Belgian music scene in those days.



The Wah Wah reissue comes housed in a beautiful reproduction of the original sleeve. Limited edition of 500 copies, licensed from and with the collaboration of Daniel Schell.

After a summer of touring and working on remixes, Big Miz readies this new self-released 5 track EP. The first outing on Miz Records since February, three solo cuts and two collaborations
bring us yet another versatile spin on the modern house sound.

With aquatic sound design and tight kicks introducing ‘Causal Loop’, an opener that quickly morphs into a Legowelt / Alden Tyrell type synth-led jacking house jam, the EP wastes no time in getting going. There’s a sharp vocal sample of the narcotic persuasion that brings to mind Paul Johnson’s classic ‘Give Me Ecstasy’, whilst the clubbier vibe of those early LIES 12”s is also present. The title track is a drum machine workout that gradually ends up in a loopy 90s style minimal techno groove, whereas ‘An Facile’ pushes and pulls at the dancefloor with a mean acid line and makes reference to a gig that may or may not have taken place at a now shut-down Glasgow club many moons ago. You’ll need to ask Miz.

Over to Side B and ‘Sleep Well’ brings in production help from fellow Scottish stalwart Ewan McVicar, the pair working on the tune in a hotel room after a show. Evidently no sleep was had as the swirling acid lines, modulated rimshots and tempo trickery combine to make one of the trippiest jams on the record. Things draw to an end with an Underground Resistance sampling colab with Good Thing resident DD Watermelon.

This second-hand record is available through our collaboration with Parisian shop Dizonord, all items are in NM condition. Just add them to your order as you'll add any other releases. Limited quantities!
Dizonord met Jean-Jacques Birgé from Un Drame Musical Instantané and GRRR label before Dizonord was created. Jean-Jacques is still a very active musician working for exhibitions sound designs and always fond of new technologies projects. These LPs are a paradise for samplers and Thurston Moore has always been a huge fan of Birgé who could be found on the famous NWW list !

This second-hand record is available through our collaboration with Parisian shop Dizonord, all items are in NM condition. Just add them to your order as you'll add any other releases. Limited quantities!
Dizonord met Jean-Jacques Birgé from Un Drame Musical Instantané and GRRR label before Dizonord was created. Jean-Jacques is still a very active musician working for exhibitions sound designs and always fond of new technologies projects. These LPs are a paradise for samplers and Thurston Moore has always been a huge fan of Birgé who could be found on the famous NWW list !

This second-hand record is available through our collaboration with Parisian shop Dizonord, all items are in NM condition. Just add them to your order as you'll add any other releases. Limited quantities!
Dizonord met Jean-Jacques Birgé from Un Drame Musical Instantané and GRRR label before Dizonord was created. Jean-Jacques is still a very active musician working for exhibitions sound designs and always fond of new technologies projects. These LPs are a paradise for samplers and Thurston Moore has always been a huge fan of Birgé who could be found on the famous NWW list !

Terapia Records is thrilled to introduce you the very first release of its catalogue, a stunning LP by the two founders Luca and Michele (aka Complementary Minds) called Butch Haynes introduces Complementary Minds Vol. 1. The newborn label launches its ambitious, yet very much considered project, after the debut of one of the two head-honchos Luca Ferrara aka Butch Haynes on Apparel Music and Sistrum Recordings. He metaphorically introduces the first LP by the Milan born and bred duo, who share a deep love for music and a great productive connection. They deliver a brilliant eleven-track album, full of diversified sonic influences and quite representative of their bright talent. The record, which will be presented to you both on vinyl and digital, starts with a couple of masterly produced beats (Fantastic/Teacher Carey), both with an analogous mellow, warm energy, some brilliantly crafted bass-lines and a substantial harmonic presence. The album keeps rolling with the Deep feeling of Flower Diva: its soulful, skilfully arranged vocals and the dreamy synthetic chords help the pair to perpetuate this passionate, balmy vibe. Insomnia ends the first quartet of sexy tunes with some seductive improvised spacey key stabs and its delicate pensive chords while Q Orchestra (the lost tape mix) speeds up the heartbeat and leads to the closing track of the A side, Bebi: a gorgeous groovy interlude. B side kicks off in style with the slightly darker feel of Myers Boogie Man where the pitched sampled vocals, the solid rhythm section, a profound array of sonic details and a marvellous warm synth melody towards the end of the track make it a true ghetto hit! Right On, with its broken-beat and a radiant harmonic progression, Contact 911 with its tight kick-snare connection and some far-out, whimsical chord evolution and G Buster with its irresistible slightly acid driving force, pave the way for the grand finale where Maam, a proper club banger, ends this amazing LP in epic fashion. Butch Haynes introduces Complementary Minds Vol. 1. is such a cohesive, yet incredibly diversified album and their authors, Luca Ferrara and Michele Fallabrino, achieve the challenging task of telling their sonic story with a flawless work. What a way to start Terapia Records’ experience.

Tired of the crazy pandemic lockdown time, we've got another Bourassa release.

Smolny, who recently debuted with the song 'Secret' on the PLUR vol.4 compilation for Lobster Theremin, returns to his label this time with the 'Magic Series' of 4 beautiful rave tracks from the 90s.

The A side offers two wonderful classic old school jungle sounds, which recall the crazy times of that golden era. Cheerful pianos and twisted well-known vocals take us into a magical world.

On the other side, 'Fantasy' and 'Euphoria' at a slightly faster pace of 140 bpm, brings us killin' happy hardcore vibes. Who doesn't remember the epic sample 'Can't beat the system'? Used again in the 'Fantasy' with the new arrangement will definitely destroy the dancefloor on more than one occasion.

arbitrary presents the third in the Black Box series of releases by Mads Emil Nielsen. The release, which showcases a more sample- and grid-based side of the Danish musician/composer’s work, is part of a sequence of publications with music and audio originally made for theatre, radio soundtracks and more.

Black Box 3 is based on sound pieces produced for Sprækker (Cracks), a dance performance & installation in Denmark, 2021. The starting points for these pieces are improvisations recorded with contemporary dancers, in which Nielsen guides the listener through a corpus of synthesizer recordings, everyday sounds and radio archives. These original recordings were reworked for this LP and edited into the six tracks in early 2022.

Written & produced, recorded and mixed by Mads Emil Nielsen, Copenhagen, 2021 / 2022. Acoustic sounds on Installation – 2 by Victor Dybbroe. Mastered and cut by Kassian Troyer at D&M, Berlin. Graphic design by Mads Emil Nielsen. Thanks to Aaben Dans, Thomas Eisenhardt, Catherine Poher, Chris Watson, Antoine Hubineau.

New artist on Mule Musiq.

Tel Aviv born producer “Nadav Siegel aka Autarkic” has been releasing nice indie dance tracks from Disco Halal, Life And Death, Turbo, Optimo Music and name a few.

This is his first release on Mule, it is a sampler 12inch from the upcoming new album (digital only).

12inch kick off killer psychedelic techno house “Cymbals Powder Rush”, floating deep house which remind us Lawrence stuff “A Petition For Grace”, slow mo electric German progressive new age tune “New Age Swag”, detroit manner machine funk “Breeder”.

We are very happy to welcome the brightest hope from Tel Aviv.

London jungle punk fusionists, Asian Dub Foundation, celebrates the 25th anniversary of their critically acclaimed album “R.A.F.I” recorded at the legendary On-U Sound Studios in East London in 1997 ! Entirely remixed and remastered, this new version sounds as fresh as ever, while the politically/culturally conscious rap, traditional Asian instruments, breakbeats and samples remains in full effect. The artwork has been re-worked for this new edition that also includes 3 bonus tracks.














n D2. Free Satpal Ram (Original 7″ Version) Bonus
o D3. Naxalite (Mad Scientist Dub Mix) Bonus
Bonus

Flox is square. Square, precise, direct.

He goes straight to the point, and doesn’t waist his time with useless considerations. “I have no time to shit around”, he says. So, his seventh album is called Square. Square represents a major turning point in the career of the pioneer of nu reggae. An extraordinary architect of studio production and multi-instrumentalist who records, mixes and produces but also, for several years, performs on stage with his musicians. After recording Square, he started touring alone, equipped with a machine he designed and built with Midi controllers to launch original samples and loops - an autarky assumed from one end of the process to the other. “You have to master all the tools to deliver what you want”, he has been saying for years...

Yet, this Square is wide open: old school rhythms or techno-like approaches, vintage dub or futuristic take offs, thick sound basses and melodies, scraped to the bone...

“A rather gorgeous and engrossing collection, that borrows stealthily from a rich history of sound effect and soundtrack to build a tender poem to the night time.” - CLASH
“The plan was to make twenty 90-second tracks designed as TV themes,” says Arab Strap’s Aidan Moffat, of the initial thought behind his new instrumental album as Nyx Nótt “But it wasn't a satisfying listen, it was too gimmicky and silly.”
So instead, Moffat decided to stretch the idea out, plunge deeper, and expand the music into full tracks, “making some of them quite long and dramatic, with the odd swift turn here and there.” In fleshing these tracks out into more fully realised songs he began sourcing samples from professional TV and film music libraries. “The focus then turned to making a proper album out of these modern library sounds,” he says. “I decided to stick with the Themes From title and named the tracks after the sorts of shows they made me think of when I listened back.”
The result is a record that explores genre themes such as: ‘Thriller, ‘Porno’, ‘Caper’ and Swashbuckler’, and acts as an audio equivalent of channel hopping through a unique TV station programmed by Moffat. “I still wasn't sure about all this until I did the album cover, which brought it all together,” he says, of the artwork that places an old smashed TV unit front and centre with a woman perched on top. “It has echoes of old TV compilations but is pretty cheeky and slightly sexy in that old 70s compilation style. I wanted this one to look a bit more fun than the last one, as well as hopefully sound a bit more fun too.”
Aside from being a fun experience, it is also a stirring and immersive listen, one that allows the listener to imagine their own accompanying visual scenarios to each musical theme. The opening ‘Docudrama’ marries a gently creeping beat with strings that glide from tense to sweeping, while ‘Porno’ is all seedy smoky jazz that feels plucked right out of Travis Bickle’s late night trips to porn cinemas in Taxi Driver.
Touches of jazz pop up in other places too, on ‘Hardboiled’ this merges with subtle pulses and gargles of electronics that build to a rousing crescendo of horns and bleeps, and on ‘Caper’ there’s a vivacious full jazz band skip to the lively swinging rhythms. “There's a few more jazzy elements here,” Moffat says. “Although I'm not quite sure where that came from. Although, like everyone else, I've had plenty of time to be introspective recently, so I decided the next Nyx Nótt album should be more upbeat and encourage some occasional foot-tapping.”
However, what becomes apparent, the longer you spend in the world of Themes From, is how singular and unique the tone of each composition is. “Each track has its own individual feel,” says Moffat. “The idea was to sound like a different composer and band throughout.” It’s a stylistic leap that continues Nyx Nótt’s trajectory as one that shares no direct link to Moffat’s other projects. “I approach them in completely different ways and with a different purpose in mind,” says Moffat. “I don't think Nyx has ever heard of Arab Strap, and certainly doesn't own any of their albums.” It’s also a notable shift from the debut album under this moniker, and suitably given the theme, Moffat has created a visual comparison between these two sonic worlds. “If the first Nyx Nótt album was like looking out on dark prairies before dawn, this is more like a walk through a neon Soho after a few cocktails.”

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

Wu Tang & Staten Island MC/Producer come together again in new vinyl release Wutang x Remedy. Remedy is a MC/producer from Staten Island, New York who first made his mark with the song "Never Again" off the Wu-Tang Killa Beez' debut album The Swarm in the summer of '98. He eventually made his full-length debut The Genuine Article in the spring of '01 & followed it up with Code Red about 2« years later. The last we heard from him on his own was when It All Comes Down to This was released in 2010. But as the 12-year anniversary of that approaches in a few weeks, he's enlisting a star studded cast of veterans to be featured on his 4th album. Ghostface Killah tags along for the opener "Modern Day Miracle" working in an occultist loop to verbally abuse anyone who wants to challenge them whereas "Death Defying" with Inspectah Deck finds the 2 over an operatic instrumental talking about choosing whether to kill or be killed. "Sparrow" takes a more soulful route feeling comparing himself to the titular bird leading into Ghostface returning alongside Conway the Machine for "The Pulpit" incorporating some orchestral samples talking about the street life.The penultimate track "Noir Story" is a full-on Killah Priest solo cut with a drumless instrumental & his lyricism on here is a reminder as to why he's this reviewer's 2nd favorite affiliate right behind Killa Sin in terms of lyrical skill, the previous cuts. "Never Again" then ends the album by mournfully paying tribute to those we've lost along the way.If you're a diehard Wu fan like I am, then you're gonna come away from this highly impressed. It's great to hear Remedy completely rejuvenated & he does an awesome job of paying homage to my all-time favorite hip hop group from the guests to the production.

Lobster mainstay and breakbeat wizard Coco Bryce follows up last year's Deep Into The Jungle EP and a wicked label-artist clothing collaboration with four varying cuts of 160 energy; spanning half-time chops, devastatingly beautiful jungle and lounge-bar breakbeat aesthetics.

Eagle-eared listeners will have listened to these already through the Dutch producers Balamii Radio show, where he has welcomed fellow label regular Amy Dabbs and footwork-jungle flag flyer Sherrelle recently. Through various aliases and musical projects Coco Bryce has always had an infatuation for bass-heavy sound, and the last couple of years have seen him settle quite nicely into one of jungles finest contemporaries alongside the likes of Sully and Tim Reaper.

‘D.L.P’ showcases this wicked ‘n’ rough energy brilliantly; old-school movie samples add a degree of depth and emotion to whiplash breaks and eerie pads before ‘Velocity Of Love’ takes us on a romance-induced trip through arcade-style keys and driving percussive beats. An explosion of love and lust in the club.

‘Twenty One Lies' swaps the club setting for a dimly lit bar in Peckham; jazz influence shines across this energetic yet home-listening ready cut of breaks, before ‘Wuthering Heights’ half-time identity transports us to the roof of the building, peering through the concrete jungle as dark turns to light.

Tuhka, like its titular cinder or ash symbolises new beginnings, fertile ground and creativity after a long lapse. In the same vein, the tracks on this edition were created after a long fallow period.

Tuhka was created out of archival snippets and new vocal loops created on the sunny top floor of Merlijnstraat in early 2022. Late lockdown there was spent writing on the balcony and walking or playing in nearby parks. This creative but relaxed time is embodied in the feeling on ’Tuhka,’ a release wrapping itself around the core of two long-form tracks:

Kärpässieni is a soft, pensive number, with an archival cheap synth track and a chopped-up mystery field recording mingling with a simple subdued vocal loop. There is a titular reference to amanita mushrooms, a fungi encompassing the mystery and the melancholy bitterness present in the track. The feeling is akin to a frosty morning spent on a walk to the Mercatorplein library and feeling your toes start numbing.

Varisevalehti means ’shudderingleaf’ and it consists of an airy, optimistic voice loop that progresses and winds around the length of the track. Alongside it, at times you can hear tape-manipulated samples from a ’learn Italian’ record I used to own. The feeling is more of a wander around Westerpark when the blossoms have started come loose and fly around in the air, forming soft pink deposits in the corners of streets.

Thanks to Haron Aumaj for enduring support and for the copious quantities of Banjaan borani.

Chicago-born composer, producer and arranger Charles Stepney is known to some for his work with Earth, Wind & Fire, Deniece Williams, and Ramsey Lewis, or for his work with Chess Records in the 1960s, where he was an essential creative force behind seminal recordings by Rotary Connection, Minnie Riperton, Marlena Shaw, Muddy Waters, Howlin Wolf, Terry Callier, The Dells, The Emotions, and many many more. In the decades since his untimely death in 1976, the presence of his name in liner notes and on vinyl labels has become a seal of quality for record collectors, music historians, and aficionados, while his sound has been used by countless samplers in the hip-hop world including Kanye West, A Tribe Called Quest, The Fugees, MF Doom, and Madlib. But in comparison to the post-mortem renown of his sound, or the music he created and the artists he supported while he was alive, Stepney is a greatly under-appreciated figure... a genius relegated to the shadows.

Labi Siffre’s third album was the first to be produced by Labi himself, who declares it to be “the one where it all
came together… singing some of my best songs”.
• Issued in 1972, it features the beautiful original version of “It Must Be Love”, a # 14 hit for Labi nine years
before Madness took it to the top. Also featured is “My Song”, as sampled by Kanye West for “I Wonder”, and
the # 11 hit title song, also covered by Rod Stewart and Olivia Newton-John.
• This new edition has been expertly cut by Barry Grint at AIR Mastering from the original stereo tapes using
precision half-speed mastering.
• Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information
creating an incredibly detailed stereo image with a natural high frequency response.
• Presented in its original gatefold sleeve, pressed on180 gram heavyweight vinyl, featuring an obi strip and
housed in a poly-lined inner sleeve, with all the lyrics on the 4 page insert.

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter "Sleazy" Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for `two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago. Pavlov characterizes SoiSong as less a musical group than a "utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority_ more like a message from elsewhere that anyone is welcome to participate in and spread." Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as "unspoken and sincere, and very efficient." That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

Clear Vinyl

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter "Sleazy" Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for `two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago. Pavlov characterizes SoiSong as less a musical group than a "utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority_ more like a message from elsewhere that anyone is welcome to participate in and spread." Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as "unspoken and sincere, and very efficient." That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

Wewantsounds is delighted to reissue "Mawood" one of the cornerstones of Egyptian music, recorded in 1971 by legendary Arabic singer Abdel Halim Hafez. Famously sampled by Jay-Z on "Big Pimpin"" for one of his 60s tracks, Hafez is captured here live with his full orchestra including Omar Khorshid on guitar. the album mixes traditional Arabic music with modern instrumentation and shades of 70s groove. "Mawood" is one of Hafez"s all-time classics, written by the legendary composer Baligh Hamdi. This release has been newly remastered for vinyl and features the original LP artwork with a 2 page insert featuring a new liner notes (English/French) by Mario Choueiry (IMA, Paris) who curates Wewantsounds" Arabic series of reissues.

Club of Jacks presents their 6th vinyl-only release - Hoovers EP.
This heavyweight 4 tracker fuses that trademark Club of Jacks House & Garage sound with an injection of raw Rave energy, delivering an EP that's as upfront as it is nostalgic.

Kicking things off on the A side is 'The Hoovers Track', an homage to a certain UK Garage classic (we'll let you work it out) but with a twist - combining a slamming 909 beat with a dirty Alpha Juno hoover line and a roucous breakbeat on the breakdown. A2 track 'Fall On Me' is a bumping Deep House groove flecked with evocative old-school vox and samples that raise the temperature.

On the flip side, things get a little moodier with the 2-Stepper 'Rub-A-Dub' mixing heavy sub bass with organ grooves, pianos, chopped breaks, dancehall shouts and a sweet female vocal chant. Finishing off the EP is 'Watch It' which samples a voicemail from a conversation the COJ boys had with none other than El-B and cuts it up over a rolling 4/4 bass groove. Limited edition clear vinyl hand-stamped pressing.

Written/Produced/Mixed by Club of Jacks.A Mastered by Henry@Pitchcraft.

The treasure chest that just keeps on giving. Another refreshing, reissued dose of solid gold UKG heaters from one of the finest garage acts of the ‘90s, 24hr Experience. Highlighted here, the first EP under the 24hr Experience name from Grant Nelson and Simon Firmin back in 1994 - Dub Essentials Part 1.

Samples galore, grooves upon grooves and that sweet swing to keep the bodies moving. Five iconic cuts from skippy vocal bumpers to percussive workouts and bass heavy whompers, this ain’t one to miss.

Talented multi-instrumentalist Flevans returns with his most musically expressive and personal long player, 'A Short Distance To Fall'.

A largely instrumental album, though peppered with lush vocal samples throughout, 'A Short Distance To Fall' is a listening experience and one meant to be savoured from start to finish - drawing you in and guiding you through an ever changing musical world, taking in snippets of electronica, disco, funk, beats, soul and downtempo - delivering them all with a warm, musical, lo-fi aesthetic.

With nods to luminaries such as The Avalanches, early Ninja Tune and Nightmares on Wax through to contemporaries such as Folamour and Art of Tones, the challenge was to create something cohesive that could traverse the different genres he loved whilst remaining true to the Flevans sound.

Diverse and eclectic, yet warm and cohesive throughout - from the atmospheric beats of 'In Shadows' the uplifting radio-ready warmth of first single 'It Take The Whole Day', the lurching groove of 'We Walk Alone' through to the driving disco of 'Digits' and 'I Got Soul', the album rewards repeated listens, never sitting still on one style or sound.

Based on original 1967 BYG sampler. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Introduction by surviving BYG co-founder Jean-Luc Young. Track-by-track notes by author, journalist and BYG-authority Kevin Le Gendre. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Based on original 1967 BYG sampler. Expanded with 5 additional tracks exclusive to CD. Digitally mastered from original BYG tapes by Nick Robbins. Introduction by surviving BYG co-founder Jean-Luc Young. 16-pages booklet with track-by-track notes by author, journalist and BYG-authority Kevin Le Gendre. *** BYG were a pioneering independant record company, one of the first labels to actively promote diversity and support black African-American musicians and multi-cultural artists worldwide during the 1960’s and 1970’s. Beginning in March 2022, BYG will reissue their now rare and collectable original albums. Newly remastered from the original BYG tapes, each album will be released on LP facsimile-edition & CD with exclusive sleeve notes by Kevin Le Gendre and John Masouri, in high-definition digital audio, downloads and streaming formats. “BYG were passionate in supporting diversity, against prejudice and narrow-mindedness so I am proud we fought for all our artists and their music, no matter what they were, who they were or where they were from ... This sampler is a testament to their creativity...” Jean-Luc Young, 2021

“Arguably his generation’s best lyricist” – Mojo // “The year’s stand-out album for me” – Stewart Lee // “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate // The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style. The songs were mostly recorded during the same sessions but, if EPII showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. Tracks: Invisible Man / Beautiful Launderette / The Parrot / The Scapegoat / Bear Factory / The Burnet Rose / Orgy Of The Ancients / London By Blakelight

First trained in his church choir, Print played in R&B bands in high school and later developed a reputation as a standout rapper. On Adventures in Counter-Culture, he experiments with the synths, keyboards, and drum machines that connected the musical dots of those early days.

Print began pursuing his career as a musician in 2001, working on several hip hop projects including his collaborative project Soul Position with DJ/Producer RJD2. Releasing The Unlimited EP & 8,000,000 Stories on Rhymesayers Entertainment with RJ, Blueprint began work in 2004 on what would become his first solo album, 1988. The success of that album allowed him to tour extensively throughout North America and Europe, before returning home to focus on writing and recording his next album. When he sat down to work on this sophomore effort, Print began with the dark, soulful and sample heavy hip hop of the early 90's, but soon found himself hitting a creative wall. What shook him loose was a new mission: to create an album that encompassed every facet of music he knew, blurring genre lines and bringing it back home as one cohesive listening experience. The more he worked to pair new found interest in rock & electronic music with his love of hip hop, the more he was able to break down that creative barrier.

Thus began his Adventures in Counter-Culture, a monumental undertaking that would involve reinventing himself as a musician and person. His growing cynicism with the world, his disdain for pop culture, the state of politics, and an apathetic, uninspired society, all worked as fuel to inspire this sophomore album. Moved by the impact that sampling lawsuits were having on the music community, Blueprint also decided to return to his roots and began writing and producing his own original content.

First trained in his church choir, Print played in R&B bands in high school and later developed a reputation as a standout rapper. On Adventures in Counter-Culture, he experiments with the synths, keyboards, and drum machines that connected the musical dots of those early days.

Print began pursuing his career as a musician in 2001, working on several hip hop projects including his collaborative project Soul Position with DJ/Producer RJD2. Releasing The Unlimited EP & 8,000,000 Stories on Rhymesayers Entertainment with RJ, Blueprint began work in 2004 on what would become his first solo album, 1988. The success of that album allowed him to tour extensively
throughout North America and Europe, before returning home to focus on writing and recording his next album. When he sat down to work on this sophomore effort, Print began with the dark, soulful and sample heavy hip hop of the early 90's, but soon found himself

hitting a creative wall. What shook him loose was a new mission: to create an album that encompassed every facet of music he knew, blurring genre lines and bringing it back home as one cohesive listening experience. The more he worked to pair new found interest in rock & electronic music with his love of hip hop, the more he was able to break down that creative barrier.

Thus began his Adventures in Counter-Culture, a monumental undertaking that would involve reinventing himself as a musician and person. His growing cynicism with the world, his disdain for pop culture, the state of politics, and an apathetic, uninspired society, all worked as fuel to inspire this sophomore album. Moved by the impact that sampling lawsuits were having on the music community, Blueprint also decided to return to his roots and began writing and producing his own original content.

Tall Black Guy chases his extraordinary 2021-released collab LP, Of Process and Progression alongside emcee Ozay Moore, with the long awaited instrumental version. The record is a celebration of hip-hop and its many influences, especially jazz, funk, soul, and R&B. And now that it’s available in instrumental form, listeners can fully dive into and unpack the layers, samples, and sounds comprising the release.

In speaking about his approach to the album’s production, TBG explains the process as follows: "When myself and Ozay decided to come together to make OP&P, we really wanted to make it to where there were no skips. And the production had to be top notch.” He goes on to say that he didn’t want to just sample, but instead add live instrumentation and collaborations with other musicians to craft the sound they wanted.

“I wanted to make sure Ozay had a lot of space to get his point across in the songs he was coming up with,” TBG says. And while you can certainly hear that space in these instrumentals, they stand on their own as stunning odes to hip-hop and the genres that birthed it. This album is also brimming with musical Easter eggs on each song, particularly on repeated listens as the layers begin to unravel themselves to your ears.

There is so much to love and discover within the instrumentals of OP&P, and for fans of TBG’s past work, it exists as another triumph in what’s becoming one of hip-hop’s most thrilling discographies.

The prolific German musician Christian Schoppik is dropping his second solo album of 2022 under the moniker Läuten der Seele, following up his critically acclaimed self-titled debut album released at the start of the year.

Once again, “Die Mariengrotte als Trinkwasseraufbereitungsanlage” (The Mother Mary Grotto as a Drinking Water Treatment Plant) is a work based on a mix of sample collages and recorded instruments that are often used sparsely but as load-bearing elements. However, this time, Schoppik came up with two long tracks where the narrative evolves in multiple and intricate movements to tell mysterious stories that have to be imagined by the listeners as the music unfolds. If the title of the tracks “Opferkerzen weihen das Betonbecken” (Votive Candles consecrate the Concrete Pool) and “Der Heilige Geist aus der Leitung” (The Holy Ghost from the Water Tap) give a starting point to these stories, the ethereal, mystic and dreamy sounding minimal atmospheres presented in this record let each one of us contemplate our own soothing experience against the continuous chaos surrounding us.