Поиск:scratch d

With his ongoing commitment to like-minded archivist label Finders Keepers Records, industrial music pioneer Steven Stapleton further entrusts us to lift the veil and expose “the right tracks” from his uber-legendary and oft misinterpreted psych/prog/punk peculiarity shopping list known as The Nurse With Wound List.
Following the critically lauded first instalment and it’s exclusively French tracklisting both parties now combine their vinyl-vulturous penchants to bring you the next ‘Strain Crack & Break’ edition which consists of twelve lesser-known German records that played a hugely important part in the initial foundations of the list which began to unfold when Stapleton was just thirteen years old.
From the perspective of a schoolboy Amon Düül (ONE) victim, at the start of a journey that commenced before phrases like kosmische and the xeno-ignant Krautrock tag had become mag hack currency, this compendium is devoid of the tropes that united what many would accurately argue to be the greatest progressive pop bands in Europe
(namely CAN, Neu! and Kraftwerk) and rather shatters the ingredients across a ground zero landscape for both inquisitive fans and socially rehabbing musos to begin to assemble a unique self-styled identity. If Krautrock was the music that journalist told us lurked behind schlager (German pop) in the 1970s, then this record includes the music that skulked behind Krautrock and perhaps refused to polish its backhanded name belt.
Including lesser-known artists like the late Wolfgang Dauner, whose career proceeded and outlived the kosmische movement while consistently informing and outsmarting them whenever they got stuck in their metronomic ruts, or how about Fritz Müller, the man who
was to Kraftwerk what Stuart Sutcliffe was to The Beatles but had more in common with Yoko and quite rightly couldn’t give a stuff about the Fab Four’s Hamburg roots.
Elsewhere we have a plethora of German bands made for German audiences as they try and shed secondhand flower power Americanisms and feel the benefits of much harder drugs and the realisations of difficult second album budgets while Kommune 1
newsflashes wipe smiles from everybody’s faces and replace them with opioid chic or acid-sarcastic grins. Bonzo Cockettes show us their Big Muffs and drummers ask for extra mics while Conny Plank goes for parliamentary office and gives babies good firm handshakes for the camera.
‘Strain Crack & Break: Volume Two’ is the sound of Steve Stapleton’s sponge-like mind and the dividends of anyone who was brave enough to even peek inside those brick-thick gatefold covers never mind drop the needle.
Over forty years since Nurse With Wound’s first album was released, Finders Keepers Records and Steve Stapleton take connoisseurs of our kind of music back to the disused elevator shaft towards ground zero. Arriving at the same checkout from different departments, Finders Keepers and Nurse With Wound continue to sing from the same hymnal with this ongoing collaborative attempt to officially, authentically and legally compile the best tracks from Steve’s list, where many overzealous erds have faltered (or simply, got the wrong end of the stick).
After ‘Strain Crack & Break: Volume One’ merely scratched the surface of this DIY dossier of elongated punk-prog peculiarities, this second lavish metallic gatefold double vinyl compendium drives a much deeper groove which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of German origin - the country whose music forged the prototype of the NWW inventory in the form of his secondary school vinyl wantlist in the early 1970s, comprised of disassembled free jazz, unshowered stoner psych, hypnotic prog, deranged monk funk and fuzzed out Deutschmark bin bonzo beats.

A year before Wild Pitch Records properly introduced us to the trio of Queens native Large Professor and Toronto’s Sir Scratch and K-Cut, the soon-to-be-legendary group self-released their own debut single. Dropping on Actual Records, the 12” of ‘Think’ and ‘Atom’ was soon a sought after rarity, with scarce originals still fetching upwards of three figures.

On it, they only hint at the greatness to come, while simultaneously showing that they’d already mastered the three-minute rap single – this is concise brilliance with no flab whatsoever.

Engineered by the late, esteemed Paul C, ‘Think’ is a study in how to turn well-worn samples into something new. The combination of several James Brown snatches, along with bits lifted from Lyn Collins and Jimmy Castor Bunch, could have been tired and almost parodic by 1989, but instead the group weave something interesting from old fabric.

‘Atom’ is arguably even better, built around a brace of elements from Marvin Gaye and Tammi Terrell’s 1967 duet ‘Little Ole Boy, Little Ole Girl’. On it, Large Pro gives the first real hints that he’ll not just be a super-producer, but a committed MC to watch. Mixing threats with humour, positivity with braggadocio, it’s a calling card performance on a track that could have still sat comfortably on 1991’s ‘Breaking Atoms’ album.

Heavily bootlegged, this is the first official double-sided 7” release bringing together both these foundational cuts.

Juga-Naut, a multi-talented artist, emcee, producer and chef with an international following. He creates every aspect of his music himself from concept to final product. He has gained major recognition with a prolific plethora of solid self released projects.
'Marble & Granite' is a gargantuan collaboration between Jugz & Jazz T. The sound is two mountains colliding with the classic Hip-Hop ethos and a modern flyness. The core of the track is sculpting beautiful art from the hardest materials, starting from scratch with raw talent, never stopping, constantly honing your craft to create a solid lasting legacy. Available on 7" vinyl with full colour artwork by Jugz and digital!

One of the most significant collections in Trojan’s immense catalogue, the ‘The Trojan Story’ album dramatically changed the perception of Jamaican music among the general British public outside of the country’s Afro-Caribbean population.

Prior to its release in 1971 there had never been an attempt to present a comprehensive anthology of the island’s musical development, with vintage ska, rock steady and reggae widely regarded as obsolete and of precious little merit.

The treble disc set, which became an instant best-seller, had been the brainchild of Trojan’s label manager and Black Music fan, Rob Bell, who, assisted by Trojan stalwarts, Dandy, Webster Shrowder and Joe Sinclair, produced arguably the most significant Jamaican music retrospectives of all time.

Now, 50 years following its original release, this hugely influential album has been revisited by Bell, along with reggae musician, Rusty Zinn, who have succeeded in improving what was already an almost perfect collection.

Presented in the original eye-catching artwork, the set is further enhanced by a highly illustrated 50-page booklet in which Bell relates the stories behind the release and the 50 tracks featured on the compilation.

Since first emerging in the latter half of the noughties, Guillaume Metenier’s Soul Sugar project has evolved considerably. Initially a trio built around the virtuoso organist’s love of ‘60s and ‘70s soul-jazz and Hammond funk – Metenier studied under jazz organ legend Dr Lonnie Smith – Soul Sugar is now a collaborative collective that draws just as much influence from classic Jamaican dub and reggae as the works of Jimmy Smith and Jimmy McGriff.

The outfit’s musical evolution comes into sharp focus on Excursions in Soul, Reggae, Funk & Dub, a collection of hard-to-find tracks that have been released at different points, and on different vinyl formats, over the last three years. Taken as a whole, the set offers a stunning snapshot of Soul Sugar’s rapidly expanding catalogue of classics. Metenier is once again at the controls but this time round Soul Sugar’s cast list of contributing musicians includes Sly & Robbie, Blundetto, Lone Ark, Slikk Tim, Thomas Naim and honey-voiced soul singer Leo Carmichael. Metenier also stars as a musician, providing lively and ear-catching organ solos under his now familiar Booker Gee alias.

What’s most noticeable from the off is the richness of the reggae riddims, the warmness of the instrumentation and the effortlessly soulful nature of the music. This is particularly evident on the collective’s stunning covers of Luther Vandross’s "Never Too Much" and Marvin Gaye’s "I Want You": effortlessly sunny and life-affirming interpretations that re-imagine the tracks as sumptuous slabs of reggae-soul and provide a platform for Leo Carmichael’s inspiring and comforting voice. Metenier and friends’ take on dub reggae – toasty, authentically bass-heavy and seeped in analogue effects – can also be admired on "Matumbee" and "Cool Down", the latter a digi-dub influenced affair rich in colourful synths sounds, echoing delay trails and sub-bass so deep it will rattle your teeth. Both also contain lusciously jazzy guitar licks and some incredible keys-work from Metenier.The guiding hand of Spanish multi-instrumentalist and producer Lone Ark can be heard on album opener "Aximites" – think Lee ‘Scratch’ Perry producing Jimmy Smith – and "Faith", an expertly breezy concoction that sports Jackie Mittoo-esque Hammond B3 solos from Metenier over a luscious backing track that sounds like something that may have emerged from Studio One in the mid 1970s. The collective’s love of Studio One is explored further on a sweaty, reggae-funk cover of "Greedy" that features fabulous drums, bass and guitar from Slikk Tim, while "Out In The Rain" is an authentically sparse, spaced-out dub number laden with fluid instrument solos and devilishly heavy riddim.
Part compilation, part artist album, part collaborative celebration of dub-soul fusion, Excursions in Soul, Reggae, Funk & Dub is the strongest statement yet of who Soul Sugar are, and where they’re going.

DJ Woody teams up with the incredible champion beatboxer Ball-Zee to create the ‘Box Cutter Mini’ 7”. Made up of 100% original new sounds, this record contains skip-proof vocal phrases, noises, sound effects and beatbox drums perfect for scratching or beat-juggling.
Side A is programmed at 133.33 bpm and contains 7 skip-proof loops, 4 phrases containing vocals and effects and 3 drumming phrases.
Side B is programmed at 100 bpm and follows the same format but with 7 different phrases.

Each side ends with a lock groove. 2 copies are a must for the 7” jugglers!

• 100% original sounds and phrases

• Perfect for portablist scratch jams, drumming, beat juggling and production

• 14 skip-proof loops

• 2 lock grooves

• Super loud and deep pressing on black vinyl

Punk parodists Splondgenessabounds achieved more than most in the early 1980s, with three chart hits, including a top-ten smash and another in the top thirty. Formed above a mini-cab office in Peckham, southeast London, they scored a contract with major label Deram through a Battle of the Bands contest, debut single B-side ‘Two Pints of Lager and a Packet of Crisps’ hitting number 7 on the singles chart in June 1980. An equally unlikely cover of Boer War saga ‘Two Little Boys’ hit the top thirty and initial single A-side ‘Simon Templar,’ based on the theme from The Saint, was also popular. This incredible debut album has each of these tracks and so much more, with plenty of fart songs and a closing dub of ‘Two Pints.’ This is the sound of the band at their magnificent best, a pick of the bunch for all Splondgs fans.

Punk parodists Splondgenessabounds achieved more than most in the early 1980s, with three chart hits, including a top-ten smash and another in the top thirty. Formed above a mini-cab office in Peckham, southeast London, they scored a contract with major label Deram through a Battle of the Bands contest, debut single B-side ‘Two Pints of Lager and a Packet of Crisps’ hitting number 7 on the singles chart in June 1980. An equally unlikely cover of Boer War saga ‘Two Little Boys’ hit the top thirty and initial single A-side ‘Simon Templar,’ based on the theme from The Saint, was also popular. This incredible debut album has each of these tracks and so much more, with plenty of fart songs and a closing dub of ‘Two Pints.’ This is the sound of the band at their magnificent best, a pick of the bunch for all Splondgs fans.

Lee 'Scratch' Perry's Black Ark Studio opened its doors in 1974. Situated in his backyard at 5 Washington Gardens, Kingston, Jamaica. Using only basic
equipment, a Teac Four-Track Recorder, a Sound craft mixing desk, an Echoplex delay unit and later adding a Phaser effects unit that he used in conjunction with his Roland RE201 Space Echo. He managed mixing down the tracks from Four track to Two track to make his distinctive whirling sound that sets apart the Black Ark Sound from the other Jamaican Studios.

Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxsone’ Dodd’s sound
system, rising quickly to the position of record scout and organising recording sessions during his 3-year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the latter of which would help him set up his ‘Upsetter’ label in 1968, which would see his first of many recordings telling the injustices done to him by previous employers. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected to Perry when he inherited it as a nick name alongside many others during the course of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perrys work in 1968 with producer Joe Gibbs was fruitful and resulted in many successful releases, but again feeling a lack of credit and itchy feet, it was time to move on. Still not having a studio of his own, Perry recorded at the various Kingston establishments at the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. His dream was always to build his own studio and not to have to work to the constraints of the other studios and producers.

On opening the Black Ark studios, the hits seemed to come immediately. Firstly with Junior Byles' 'Curly Locks' and in 1975 the massive crossover hit Susan Cadogans' 'Hurt So Good' that reached No 4 in the UK charts.1976 saw Island Records releasing Perrys vast output, timeless material like the Heptones 'Party Time', Max Romeo's 'War Inna Babylon' Bob Marley and the Wailers 'Jah Live', 'Punky Reggae Party' and Junior Murvins 'Police and Thieves' to name but a few.But sometimes missing out on a few classics like Perrys own 'Roast Fish, Collie Weed & Corn Bread' and possibly one of the best reggae albums of all time The Congos 'Heart of the Congos'. Dub releases like 'Revolution Dub' (1975) showed a way forward for his production skills in this formidable arena. Having his own studio allowed him to build up a vast catalogue of tracks to work on. We have culled together some lost productions that Lee Perry carried out with singer Mike Brookes, a fine singer, arranger from that special time in the Black Arks history. Sounding like Junior Marvin in parts and Max Romeo in others but still carrying a distinctive Falsetto voice. Some classic tracks as you can see recorded with the cream of musicians at Lee Perrys disposal. Mr Perry works his magic that gives these songs that distinctive feel that his output.
carried around the mid 1970's.

So we hope you enjoy some more lost treasures from the Black Ark that we feel should be added to that mighty cannon of material that still sound so fresh and strong today.

DMC World Champion and IDA World Champion

Practice Yo! Cuts v9

BLACK 7 inch vinyl.

Packed full of fresh phrases - a deep cut non skip 7" DJ scratch tool by Ritchie Ruftone, with both sides at 100bpm.

Free digital download included.

Weighing in at 40gms.

Bounding on from the Door to the Cosmos, the label'sexpansive triple vinyl compilation, OnTheCorner has paired up new artists in this series of cosmically twinned EPs. Twinning EPs on a single piece of wax reduces the impact on the environment and wallet friendly. Each brace of cosmically twinned OnTheCorner artists interstellar balearic for the deepspace bound. Each 12" will be split taking over a whole side of black wax. Party wax loaded with Stardust. Get your fix of tomorrow's sound, tonight! Side A is UFFE's 'Not All the Stars EP' - an underground emissary channeling dark bass weight through a prism of jazz-house - dub-tech hitters. A singular talent leading the charge into new frontiers with OnTheCorner. Not All The Stars EP is aprelude to his first LP on the label and follows on from City's Dead and that featured on Door to the Cosmos in 2020. Petwo Evans' 'Bootstrap EP' on the flip side is made of soundsystem-primed, innovative club tracks. Welsh Futurism, celestial electrics and objects of space-junk percussion. CERN loops, cyber kinetic grooves, machine pulses and chugging house kicks converse in the orbit of 'Gyroscope'. Petwo Evansfeeds the tracks compulsion with heady layers awash with dreamy vocal stabs, synths and hazy harmonics.

Spindle Ensemble’s highly anticipated sophomore album is scheduled for a release on Thursday 27th May 2021 on vinyl, CD and digital download via Hidden Notes Records. The vinyl version will be accompanied by a special 12 page booklet which also includes liner notes written by celebrated DJ and Broadcaster Nick Luscombe (BBC3’s Late Junction/Musicity/Flomotion Radio).

In conjunction with the announcement a brand new single Caligo - with B side Menilmontant - was released via Bandcamp on Friday 5th February 2021 together with a unique music video that combines super 8 footage and scratched 16mm film visual artist Narna Hue (watch the video below).

A special socially distanced album launch concert is due to take place at St George’s Bristol on Thursday 27th May depending on COVID guidelines and restrictions at that time.

Since their formation in Bristol in 2016 contemporary chamber quartet Spindle Ensemble led by composer and pianist Daniel Inzani (Yola, Alabaster dePlume, Tezeta) which also features tuned percussionist Harriet Riley (Charles Hazelwood’s Paraorchestra, Bristol Symphony Orchestra), cellist Jo Silverston (Mesadorm) and violinist Caelia Lunniss (Edward Penfold) have garnered much praise for their innovative take on contemporary classical music, rooted in spontaneity and improvisation performed with deft musicianship and unique instrumental pairing all resulting in truly captivating sonic soundscapes.

Equally at home performing in concert halls such as the Union Chapel, Southbank Centre, Bristol Beacon, St George’s Bristol and festivals including Shambala and Hidden Notes to churches, art centres, record shops and independent venues across the UK they continue to bring their music to a diverse and ever growing audience.

Listeners may hear influences from composers such as Satie, Pärt, Ravel, Reich, Glass and Moondog in their music but might also find the soundtracks of Morricone and the minimalist aesthetics of the Penguin Cafe Orchestra nestled alongside the more experimental leanings of groups such as Rachel’s, Esmerine, Bell Orchestre and Amiina.

The quartet’s forthcoming album Inkling was recorded at various venues across Bristol, capturing their performances as unique 3D sound images enabling the listener to hear each instruments position mimicking the audible experience as a live audience member. Unlike their debut BEA, some of the compositions on Inkling also features a collection of guest musicians expanding their sound to an orchestral scale, featuring the addition of brass and percussion instruments.

In September 2019 the group released a double A-side single of Chase and Okemah Sundown from the album with accompanying videos by acclaimed Director/Cinematographer Fred Reed and stop-motion animator Marie Lechevallier.

Spindle Ensemble’s highly anticipated sophomore album is scheduled for a release on Thursday 27th May 2021 on vinyl, CD and digital download via Hidden Notes Records. The vinyl version will be accompanied by a special 12 page booklet which also includes liner notes written by celebrated DJ and Broadcaster Nick Luscombe (BBC3’s Late Junction/Musicity/Flomotion Radio).

In conjunction with the announcement a brand new single Caligo - with B side Menilmontant - was released via Bandcamp on Friday 5th February 2021 together with a unique music video that combines super 8 footage and scratched 16mm film visual artist Narna Hue (watch the video below).

A special socially distanced album launch concert is due to take place at St George’s Bristol on Thursday 27th May depending on COVID guidelines and restrictions at that time.

Since their formation in Bristol in 2016 contemporary chamber quartet Spindle Ensemble led by composer and pianist Daniel Inzani (Yola, Alabaster dePlume, Tezeta) which also features tuned percussionist Harriet Riley (Charles Hazelwood’s Paraorchestra, Bristol Symphony Orchestra), cellist Jo Silverston (Mesadorm) and violinist Caelia Lunniss (Edward Penfold) have garnered much praise for their innovative take on contemporary classical music, rooted in spontaneity and improvisation performed with deft musicianship and unique instrumental pairing all resulting in truly captivating sonic soundscapes.

Equally at home performing in concert halls such as the Union Chapel, Southbank Centre, Bristol Beacon, St George’s Bristol and festivals including Shambala and Hidden Notes to churches, art centres, record shops and independent venues across the UK they continue to bring their music to a diverse and ever growing audience.

Listeners may hear influences from composers such as Satie, Pärt, Ravel, Reich, Glass and Moondog in their music but might also find the soundtracks of Morricone and the minimalist aesthetics of the Penguin Cafe Orchestra nestled alongside the more experimental leanings of groups such as Rachel’s, Esmerine, Bell Orchestre and Amiina.

The quartet’s forthcoming album Inkling was recorded at various venues across Bristol, capturing their performances as unique 3D sound images enabling the listener to hear each instruments position mimicking the audible experience as a live audience member. Unlike their debut BEA, some of the compositions on Inkling also features a collection of guest musicians expanding their sound to an orchestral scale, featuring the addition of brass and percussion instruments.

In September 2019 the group released a double A-side single of Chase and Okemah Sundown from the album with accompanying videos by acclaimed Director/Cinematographer Fred Reed and stop-motion animator Marie Lechevallier.

Dry Cleanings fiebriger Post-Punk klingt wie kein anderer Sound zurzeit. Bassist Lewis Maynard, Drummer Nick Buxton und Gitarrist Tom Dowse kennen sich schon eine kleine Ewigkeit und hatten schon diverse gemeinsame Bandprojekte zusammen. Die neue Band der Londoner entstand 2017 nach einem Karoke-Abend, bei dem sie Florence Shaw kennenlernten. Shaw, die vorher nie gesungen hatte, wurde zur Stimme der Band. Binnen weniger Monate entstanden die ersten Songs; die Texte handeln von Neurosen, seltsamen YouTube-Kommentaren und den normalen Dingen des Lebens. Shaw ist eine gute Beobachterin und eine Archäologin des Alltags. Der ungeschminkte Sound von Dry Cleaning bietet Shaws Geschichten dabei eine berauschende Klangkulisse. 2020 waren nach zwei EP-Veröffentlichungen und Touren durch englische Clubs Konzerte in den USA und Europa geplant, aber wegen der Pandemie saß die Band stattdessen im britischen Lockdown. Die Zeit nutzte man, um weitere Songs zu schreiben und das Debütalbum mit John Parish als Produzent in dessen Rockfield Studios aufzunehmen. "New Long Leg" wird die Musikwelt im Sturm erobern.

Never underestimate the power of a woman with her back to the wall. In March 2020, as Covid blew across the planet, the shutters came down on live venues and recording studios, and the music scene fell suddenly silent, Ghalia Volt faced the same dilemma as every other artist.
What now? The answer was One Woman Band. Having joined with the cream of the US roots scene for two acclaimed albums, 2017’s Let The Demons Out and 2019’s Mississppi Blend, Volt’s rebirth as a solo performer wasn’t a decision made lightly. But if an apprenticeship busking in her native Brussels taught Volt anything, it’s that she already had everything she needed to make magic.
“In March, I started playing on a real drum set,” she recalls.
“Playing a kick, snare and hi-hat plus a tambourine with my two feet, while playing slide/guitar and singing at the same time.” After road-testing the new format at shows across Mississippi, Volt realised that one was the magic number.
In August, she committed to the project, embarking on a month-long Amtrak train trip that became an intensive writing session, the shifting landscapes beyond the window inspiring her pen to scratch as never before. Tracked live in November at Memphis’s legendary Royal Sound Studios, One
Woman Band is Volt’s most lyrically honest and groove-driven material to date.
You can feel the turn of those train wheels in the addictive stomp of songs like
Reap What You Sow, while the rattle-and-shiver slide guitar of Espiritu Papago
evokes the scream of a locomotive whistle.
“Imagine John Lee Hooker on mushrooms, lost in the desert of Arizona, on a hot
summer day,” says Volt. “That’s the vibe of that song.” The Covid-19 pandemic
is an unprecedented chapter of human history, with no clear end in sight.
But Ghalia Volt has given us the soundtrack to better times ahead, and the
songs we’ll still be singing when we meet on the other side. This might be a
One Woman Band - but you’re always welcome to ride shotgun.

Ambivalence has the tendency to dance to its very own beat because of its implied ambiguity. It’s the antithesis to any kind of middle of the road business. And it’s something that rings particularly true for Joram Feitsma’s sophomore album “Flux“.

Giving home to fifteen songs that were composed between 2017 and very late 2020, “Flux“ is the result of multiple years of experimenting with different styles, different tones, different feelings, exposing an emotional spectrum you thought you’ve lost in the fire for good. It’s sensual. it’s sensitive. It’s even a bit otherworldly. It’s a testament to the idea that we’re all capable of immense love regardless of its possible disillusionment and consequential losses.

Hand numbered/limited to 200 copies.

First time on vinyl

How would Roc Marciano and MF Doom sound if they were born in Athens to immigrant parents?
MC Yinka & DJ Booker provide an answer by teaming up to bring us their first LP “Night Lights”.
MC Yinka finds inspiration in blighted areas, urban struggles and multicultural subcultures. With a unique and characteristic voice, he touches on various social and spiritual matters and concerns.
Night Lights is fully produced by DJ Booker who surprises with his sample selection and the overall approach on the production. He balances between trippy and minimal sounds with dark and abstract samples. The beats vary from broken to “J Dilla – inspired” rhythms to discreet patterns that trigger the imagination and the expectations of the audience.
Not to mention the scratching skills of DJ Booker which spice up the music production and established him as one of the best scratch DJs in Europe according to British magazine “Undercover Hip-Hop”.

The album features one of the most “conscious” MCs, Mr. Lif, well known for his collaboration with the Thievery Corporation, and the hip-hop street performers Twinsanity who call our attention to the raw reality from Athens to Boston.

Night Lights will be released on vinyl by the label Mind The Wax in February 26th, 2021 and includes 10 tracks.

Crammed's legendary MADE TO MEASURE Series of New Music was described at the time as the aural equivalent of a collection of art books. Charting a map of some of the most interesting instrumental music of the era, thirty-five albums came out between 1983 and 1995, including works by artists such as Hector Zazou, John Lurie (his soundtracks for the Jim Jarmusch films), Fred Frith, Arto Lindsay, Zelwer, Steven Brown, Peter Principle, Harold Budd, Brion Gysin, David Cunningham, Benjamin Lew, Ramuntcho Matta, Karl Biscuit, Daniel Schell, Aksak Maboul, Minimal Compact and more. The loose idea behind the title of the series was: this is music which has been or could have been "made to measure" as a soundtrack for other media (film, theatre, dance, video). We'll also be rolling out selected vinyl reissues of some of the series' classic early releases, starting with the inaugural volume, MADE TO MEASURE VOL. 1, the multi-artist album from 1984, containing music created by Minimal Compact, Benjamin Lew, Aksak Maboul and Tuxedomoon for films, theatre plays and dance performances.