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The first resonant space Zosha Warpeha played in was the Emanuel Vigeland Museum in Oslo, Norway. Built as a mausoleum, its walls reach up into a gradual archway, creating an environment where sound expands and reverberates for twelve seconds before decaying into silence. Warpeha was greeted only by dim lights when she entered, and it wasn’t until she had spent several minutes listening that she was able to make out the frescoes that covered every inch of the room: graphic depictions of the cycle of life from conception through death. As the sound of her Hardanger d’amore encountered the walls and these slowly emerging scenes, they obscured its point of origin in both time and space, augmenting its own life cycle. The experience sat in the back of her mind over the next several years as she developed her own patient style of composition and performance, one that comes into full bloom on her new album I grow accustomed to the dark.

When Warpeha was selected as an artist in residence at Brooklyn’s ISSUE Project Room in 2025, she saw it as an opportunity to more intentionally explore how her music might fill a room with ample natural reverb. I grow accustomed to the dark documents two single-take solo performances for Hardanger d’amore and voice at IPR, with both pieces composed in a unique tuning system developed to interact with the space itself. Listeners can trace resonance from the contact of the bow on gut strings into the body of the instrument, its five sympathetic strings offering another layer of refraction, before the sound is thrown about the cavity of the room. The echoes emerge like a photographic double exposure, or wisps of smoke that linger in the air, creating ghostly harmonic convergences that blur the line between what is there and not-there. Sound begins to act like light, a synesthetic alchemy that transforms drones into beams and ornamental trills into flickers.

Both side-long compositions, “filament” and “visual purple,” exemplify a duality that animates Warpeha’s music: an expressive, individualistic style that draws on extensive knowledge of her instrument’s history in folk traditions, and an austere, devotional quality maintained by focus and precision. Though very different in character and structure, both pieces evolve slowly through numerous repetitive phrases, passages of stillness, and bursts of intensity. “filament” opens with a cycle of delicate melodic fragments played and sung around a drone before blossoming into an outpouring of swooping arpeggios, harmonics flying from the strings like sparks off a bonfire. The disorienting pulsation of harmonic beating forms the core of “visual purple,” the close-tone dissonance building to a swarm of open strings ringing boldly throughout the space. After the knotty tones reach their climax, the piece collapses into studied quietude, hushed, but without any drop in intensity.

When Warpeha first visited the Vigeland Museum in 2019, she was in Oslo to deepen her relationship to the Hardanger fiddle through the study of Norwegian traditional music, which is primarily passed down aurally. The experience of learning songs by ear, not only internalizing the tune but also absorbing the techniques and tonalities by listening, was a crucial step in her development as a composer. The years since have seen her sharpen those skills as a prolific member of the New York avant-garde and improvised music communities. Warpeha’s music encourages listeners to join her in this journey, to listen closely with each repeated phrase and through each dramatic shift. Like the frescoes on Vigeland’s walls, with time and intention, the depth of I grow accustomed to the dark comes on like a revelation.

Alice Kemp is a British artist working with noise, performance, fetish objects, installation and many other forms of media. Throughout her work, she articulates a broken and illogical syntax of the subconscious through trance states, dreams, and disturbances. She has performed extensively, occasionally as an associate to the Schimpfluch-Gruppe of Swiss extreme aktionists.

It is a rarified violence that the Kemp invokes on her 9 Dreams In Erotic Mourning. Something disfigured. Something fucked. Something left behind. The subject matter of her investigations are deliberately inscrutable as she grotesquely amplifies a moment of terror, or fear, of sadness through pockets of piano melodies broken by psychoacoustic noise, razor-cut silence, ghastly vocalizations, crushed acts of physical aggression, and buckets of high-pressure suspense. Cryptic and oblique by design Kemp's work reads perhaps as a seance gone awry, certainly as private ritual made public, and as a transfiguration of literary body horror turned into a sonic nightmare that runs parallel to the works of Rudolf Eb.Er, Puce Mary, Sewer Election, and Luc Ferrari.

9 Dreams In Erotic Mourning was originally published as part of the instantly out of print boxset, On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency.

Introducing the 4th instalment of the Pacific Coast House rebirth. We bring back another much sought-after 12” from The Coastal Commission & Jesse Outlaw. “Bring down the Walls” was a nod to Raze’s “Break for Love”, Robert Owens “Bring Down the Walls” and Ritchie Hawtin’s use of the Roland 606 throughout “Sheet One”. Long out of reach and fetching $100+ on Discogs, Atjazz’s freshly remastered editions are finally available .. “Let it Go” was never mastered & only ever cut to dub-plate. It has now been mastered & available in all it’s glory.

Coastal Commission “Bring Down the Walls” “Bring down the Walls” was a nod to Raze’s “Break for Love”, Robert Owens “Bring Down the Walls” and Ritchie Hawtin’s use of the Roland 606 throughout “Sheet One.” We gave the tune a Californian psychedelic twist with conga laden drums, a moody synth, low pulsing 303 patterns + Benjamin Zephaniahs patois call to “Move the Body Rhythmwize!” The first PCH releases had dropped Worldwide to International acclaim from DJ’s far and wide across the Globe with support in London, Paris & New York. However the local scene here in L.A that preached “Love, inclusion & Unity” was anything but that. L.A at that time was very tribal & divided up into 3 camps. If you weren’t affiliated with any of them (aka independent) then you were pretty much locked out of getting any kind of gig support or the Dj’s from those camps actually playing the music. The local feedback from Dj’s was that what we were making wasn’t “house,” but “Techno” which was absurd to me. “Bring Down the Walls” was a mantra to “move the bod”y and in doing so “bring down the walls” of separation not just in L.A but throughout society in general. Thank goodness for support from people like Terry Francis, Eddie Richards, DJ Deep & Philly Stalwart King Britt. After years of copies going for upward of $100+ on Discogs the now freshly remastered copies by At Jazz’s Martin Iveson are finally hitting the platters this Spring.

Jesse Outlaw “Let it Go” I met Jesse at Beatnonstop Records on Melrose Ave with Miguel Placencia in the late 90’s. Miguel (RIP) was a mainstay in the Underground scene and had always been very supportive of my endeavors. He had had success with a huge release on Yellow Orange and was working with Jesse under the moniker “When Worlds Collide.” I signed “Brighter Days” & “Set you Free” from them and released the tracks on my Seductive imprint. They told me that they were making the tracks on a Sony Playstation “Music Now” program and I was like FFS “What.s more Underground than that!?” Later Jesse gave me some of his solo work. The track “Let it Go” was never mastered & only ever cut to Dub-plate and featured on my 1st PCH mix “Pacific Coast House Sounds.” It has now been mastered by Martin Iveson and is available in all it’s glory. The dreamy vocal “You need to let it go” beckons over the top of driving percussive Latin beats and church organ which is a great compliment to the flip side of “Bring down the Walls.” All in all two West Coast stompers now finally available remastered on PCH in Orange vinyl.

Relive the hit soundtrack to Season 1 with the show that defined a generation, HANNAH MONTANA, and sing-along with The Best of Both Worlds, The Other Side of Me and more on this collectible green splatter LP!

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners.

In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations.

Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.

all new super sexy girl group vinyl is here xo
includes: 12 inch black vinyl, a sheet with stickers of us on so you can customise your own cover, inner sleeve with lyrics from Think They're Looking, Let's Perform and Little Sticky Pictures which you can read and study for at least 2 hours a day

Folk-Punkrock, Bier & Wahrheiten. Mit ihrem Album "This Ain't Quiet" legen die Schweizer Saint City Orchestra ein dreckiges neues Manifest vor - gegen die Stille, gegen das Schweigen, gegen das brave Mitlaufen. Was hier aus den Boxen knallt, ist ein rotzfrecher Mix aus Irish Punkrock und der ungeschönten Realität des Lebens - laut, wild, ehrlich und mit ordentlich Portion Ironie. Die Songs klingen wie durchzechte Nächte mit besten Freunden, wie Kneipentresen voller Geschichten, wie Stadionrufe aus rauen Kehlen und wie der letzte Schluck vor dem Zusammenbruch. Sie erzählen von verlorenen Träumen, gebrochenen Herzen, wütenden Mittelfingern und unbeugsamer Liebe - zur Familie, zur Crew, zum Verein und zum verdammten Leben selbst. This Ain't Quiet ist kein Album für die Playlist im Fahrstuhl - es ist der Soundtrack für Nächte, die man sich tätowieren lassen will. Für Menschen mit Ecken, Kanten und Haltung. Für alle, die lieber grölen als jammern. Das Saint City Orchestra ist zurück - und sie haben Durst. Das SCO ist im 12. Jahr unterwegs, hat bereits je ein Top 30 und ein Top 20-Album in der Schweiz im Gepäck, vielleicht geht's dieses Mal unter den ersten 10? Für Fans von Fiddler's Green, Flogging Molly, The Rumjacks, Dropkick Murphys und The Real McKenzies. Als CD oder farbige (Neon Orange w/ White & Black Splatter) LP erhältlich

Sun Wukong (The Monkey King) is a monkey born from a heavenly stone who acquires supernatural powers. After rebelling against heaven and being imprisoned under a mountain for 500 years, he later accompanies the monk Xuanzang on a journey to India. Thus, according to legend, Buddhism is brought to ancient China. This much beloved story, is as much a part of Asian culture as The Iliad and The Odyssey or The Wizard of Oz are to the West.

The 2014 action-fantasy film Monkey King - Havoc In Heaven's Place was directed by Soi Cheang, Starring Donnie Yen as the titular protagonist Sun Wukong. A Hong Kong-Chinese co-production, Yen also serves as the film's action director. The film co-stars Donald Chow, Aaron Kwok, Joe Chen and Peter Ho. The music was composed by Christopher Young.

Funfact; the drums on this soundtrack was done by none other than Dave Lombardo (ex- Slayer)

In China, The Monkey King was highly succesful and became only the third Chinese film to earn more than a billion yuan at the Chinese box office.

The soundtrack of Monkey King - Havoc In Heaven's Place is available for the first time on vinyl as a limited and numbered 2LP of 500 copies on gold vinyl, and includes an insert.

The compositions of Colleen, aka multi-instrumentalist CeIücile Schott, are as richly varied as they are precise. Each of Colleen"s albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott"s music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one"s life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album"s sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue"s PA sound itself and the venue"s acoustics. Colleen"s music translates snapshots of Schott"s life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott"s deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental.

The compositions of Colleen, aka multi-instrumentalist CeIücile Schott, are as richly varied as they are precise. Each of Colleen"s albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott"s music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one"s life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album"s sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue"s PA sound itself and the venue"s acoustics. Colleen"s music translates snapshots of Schott"s life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott"s deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental.

Motown Records: The Supremes, Stevie Wonder, The Miracles, Marvin Gaye, Martha Reeves and The Vandelas and, of course, The Temptations. It is antithetical to mention any of those without the others. The community of artists started as the Sound of Young America, but as history has proven, it became the sound, the look and the inspiration of so much more. And now, little nuggets of Motown's influence can be found the world over. David Ruffin, founding member of Motown superstars The Temptations, went on to become a successful solo artist even after he left the group. In 1969, Ruffin released two fantastic solo records, My Whole World Ended and Feelin' Good. Between 1970 and 1971 he recorded what was to be his third long playing solo record. However, his career was suddenly put on hold when Motown, for reasons unclear, shelved the album that had been dubbed David. The record had even been assigned a catalog number and final artwork. Ruffin returned in 1973 with a brand new LP titled David Ruffin (treated officially as his third LP) and the previously recorded album David sat on the shelves, unheard for decades. This deluxe 2xLP set features the original, rare David LP, plus an LP of bonus tracks and mono single mixes all packaged in a beautiful gatefold jacket, featuring extensive liner notes and striking color photographs of Ruffin. His red and yellow suede suit featured in the interior gatefold LP jacket is an absolute must-see! The record was cut and pressed at Third Man's Detroit HQ, just a couple miles away from the original Motown HQ. For the first time ever on vinyl, Third Man is proud to present the essential, true third LP from the Temptations' mighty David Ruffin.

Dorian Concept returns with "Miniatures," a collection of his renowned one-take synthesizer recordings that he’s been known for sharing online since the mid-2000s. “This release was right under my nose” he says. Over the past two decades, Dorian Concept has uploaded videos of himself "fooling around" on various synthesizers and keyboards – long before the rise of short-form content. These signature one- to two-minute performances have sparked countless covers, remixes and reinterpretations by musicians and producers alike. Through this project, Dorian Concept aims to celebrate a long-standing bond with his instruments and honor it in the form of a photo album.

In his own words:

As a kid, every night before bed, I would sit in the same place and draw a comic. I rarely finished them, but I couldn’t go to sleep without having started one. These "Miniatures" and the preceding videos I’ve recorded come from the same place. They’re the expression of a ritual.
Around 2020, I created a compact setup using three devices – a mono synthesizer, an analogue reverb and a looper –which I separated from the rest of the studio. Every day, before I started working, I would improvise on this small setup and at the end of every month, I would record a video and share it with the world. These songs were made in front of you, in a Truman-Show like fashion.
Now they feel like diary-entries that capture the timeline of a deepening relationship, the harvest of limitation and repetition, and the beauty of simplicity.

The cover art is a drawing by the esteemed Austrian artist Leopold Strobl (courtesy of Gallery Gugging), who is known for his distinctive small-format work. The closing track, “An Unopened Letter,” features the genre-defying guitarist and producer Bibio.

John Hollier (pronounced OH-LEE-AY) is a powerful new folk rock artist with French-Cajun roots, blending rock and roll, heartland grit, cinematic storytelling, and southern country soul. His twelve-track album reflects his Louisiana upbringing on a crawfish farm, exploring love and heartache through raw, live energy and vivid narratives. John Hollier & The Rêverie features Hollier alongside Teddy Thibedoux Jones (sax), Zachary Scott Kline (lead guitar), Ray Akers (bass), and Brian Cox (drums).

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.

The Lost Highway of Hank Williams and the Highway To Hell of AC/DC are indeed the same damn road. Featuring 12 classic outlaw country songs done in their own inimitable style, the album was recorded completely live in the studio. The bad are supporting the release of the album as well as their 25th Anniversary with extensive live touring and festival throughout the UK, Ireland, and Western Europe throughout 2026. Full UK Tour starting FEB 11 Nerve Centre Londonderry. 12th Whelan's Dublin. 13th The Empire Music Hall Belfast. 14th Liquid Room Edinburgh. 15th PJ Molloys Dunfermline. 17th The Georgian Theatre Stockton-on-tees. 18th Docks Academy Grimsby. 19th Pocklington Arts Centre. 20th The Hairy Dog Derby, 21st Picturedrome Holmfirth. 22nd The Drill Lincoln. 24th 53 Degrees Preston. 25th Queens Hall Narberth, 26th HAYSEED DIXIE Cardiff. 27th Sin City Swansea. 28th Crickhowell. MAR 1st HAYSEED DIXIE Merthyr Tydfil. 3rd The Fleece Bristol, 4th Roadmender Northampton. 5th The Factory Live Worthing. 6th The Harlington Fleet. 7th MK11 Milton Keynes. 8th Hertford Corn Exchange.

Thawra Records and Tiny House Music are proud to announce Nafas, the debut original album by Palestinian vocalist, researcher, and composer Salwa Jaradat, set for release in March 2026.
Rooted in a traditional Arabic singing practice yet shaped by a layered and deeply personal artistic journey, Nafas marks a powerful first statement from an artist whose work moves between heritage, research, and lived experience. The album emerges from years of musical and feminist inquiry, giving renewed breath to voices, emotions, and histories that have long existed on the margins.

Salwa Jaradat’s artistic formation is grounded in classical Arabic music and oral tradition, with studies at the Edward Said National Conservatory of Music in Palestine and later in musicology in Lebanon. Alongside her work as a performer, researcher, and archivist, she has developed a practice that treats music as a space of memory, resistance, and continuity. These threads converge in Nafas—an album that does not seek to modernize tradition, but rather to inhabit it differently, allowing it to speak in the present tense.
Developed through an intensive artistic residency in Lebanon, Nafas brings together a core ensemble of regional musicians, with Jaradat’s voice at its center—measured, expansive, and deeply intentional. Across six compositions, the album unfolds patiently, moving between stillness and momentum, intimacy and collectivity, breath and release.
Nafas will be released digitally and on vinyl, reinforcing Thawra Records and Tiny House Music’s ongoing commitment to long-form artistic statements and physical formats as vessels for care, depth, and listening.

Remastered from the original recordings and now presented on a 45rpm 2 LP deluxe audiophile edition, this is first time the complete 7-track album has been available on vinyl. 'In My Own Sweet Way', recorded during a month- long European tour in 1987, captures Woody Shaw in peak form playing with a spirit and a sense of adventure that identify him as a jazz giant. Woody calls the trumpet "the prince of all the horns". Woody is the king of all the trumpet players.

Nobody around plays with such a big, round, ravishing sound - a sound which could easily fool you into thinking that you are listening to a flugelhorn. Woody's musical asociates on this album are Alex Deutsch, a young drummer from Austria who has worked in Europe with many American jazz stars; Neil Swainson, a highly gifted bassist from Toronto who has worked with Pat La Barbera and Peter Leitch but is perhaps best known for his superb collaboration with George Shearing; and Fred Henke , a pianist from Montreal whose credits include backing Clifford Jordan, Steve Grossman and Junior Cook

In 2026, 62 years after the first release, she releases the LP Tomorrow's Yesterday, and it cannot be ruled out that this may be her last physical album. All the songs are recorded in duo or trio format. The musical sounds are excitingly combined with her voice and Rob Luft on guitar, John Surman on saxophone/ bass clarinet on side A. Whilst on side B we hear Karin Krog with Erlend Slettevoll on piano/electric piano and Rob Waring on vibraphone.