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The initial cassette-only releases of Tashi Dorji turned lots of heads, including Six Organs of Admittance and Hermit Hut - now over a decade later, this release makes its full-album debut on vinyl. "It really was a formative time for me because it felt like everything opened, as far as the possibilities of what music-making meant. Like improvisation walked in and then there was a volcanic eruption" - Tashi Dorji "The self-titled session was recorded at a nice studio at the local university here in Asheville. I had some friends that were studying music there and had access to studio time. This session focused more on extended/prepared guitar ideas. My interest in percussive elements of sounds, timbre, harmonics, and dynamics plays a lot in this recording." - Tashi Dorji

This third release from Rubi Records sees Ashley Tindall—aka Skeptical—stepping out of his usual drum and bass territory and slowing things down with three seriously deep dub-infused bass tracks in the 140-150bpm realm. While not the first time Skeptical has dipped his toes in such waters, these are easily among the finest, most musically mature examples to date. For those drum & bass fans out there unsure about Skeptical branching out into other genres, this EP shows that an open mind and listening without prejudice will reward your ears.

First up is the utterly dub-soaked 75/150bpm track 'Tell Me'. This solid stoner groove takes clear elements of Skeptical's more dub-orientated D&B and adds mesmeric pads and soulful vocal hooks, making it one of the deepest head-nodders in his overall catalogue. This is more a refined track for the 'listener' than for the dance floor, and while you can still easily throw some shapes to it, it's great to just immerse yourself in as a purely audio experience.

Next is the 140bpm 'Tapestry', which is somewhat the darker twin of 'Tell Me'. Again, we have a slow dub-infused head-nodder, but this time more menacing in tone thanks to the finely-judged use of some moody sound modules that Skeptical has tweaked and twisted in his inimitable fashion. This one's the audio equivalent of a restless mind in the depth of night.

The final offering is another 140bpm track – the unsettling beast 'Atomic v1'. It begins with a slow-burn build up of an off-kilter metronomic beat, subtly growling bass and haunting strings. This, in turn, gives way to a distorted rendering of Oppenheimer's famous use of 'Now I am become death, the destroyer of worlds' from the Bhagavad Gita, before becoming a sinister slow-motion dubstep rumbler. With its dragging beat and the purposefully off-point main sonic hook running over the top, this is a disorientating and unsettling weapon for the discerning DJ.

This EP continues the fresh direction of Rubi Records, showcasing exceptional, forward-thinking music without borders.

Support: Ben UFO, Joy Orbison, Gilles Pererson, dBridge, Break, DLR, Doc Scott, Mefjus, Kasra, Kings of the Rollers, Alix Perez, Jubei, Dub Phizix, Flight, Tasha, Loxy, Randall, Lens.

Radio Support: BBC Radio 6 Music, Rinse FM, Kool FM

Seit ihrem Auftauchen Mitte der 1990er Jahre haben beide eine starke Präsenz im Kontext der amerikanischen experimentellen Musik und beide jeweils seitdem einige der fesselndsten Originalwerke produziert. Kenney ist eine experimentelle Vokalistin, Komponistin und Lehrerin, die sich auf die transformativen Kräfte der Stimme und die Beziehung des Klangs zu mystischen Erfahrungen konzentriert. Neben ihrer Zusammenarbeit mit Oren Ambarchi, Tashi Wada, Avey Tare, Alvin Lucier, Sarah Davachi, dem Ensemble Nist-Nah, Sunn O))) und zahlreichen anderen ist sie bekannt für ihre Aufführung indonesischer Vokalmusik (Sindhenan) und persischer Vokalmusik (Radifs) sowie für ihre eigenen Kompositionen, die Elemente beider Musikrichtungen aufgreifen. Kang, ein Komponist und Multi-Instrumentalist, der für seine einzigartige Herangehensweise an die Bratsche hoch angesehen ist, hat auf zahlreichen Gebieten gearbeitet und auf Alben von Bill Frisell, Joe McPhee, Sun City Girls, Wayne Horvitz, Ikue Mori, Laurie Anderson, Aki Onda, John Zorn, Blonde Redhead, William Hooker, Animal Collective, Lou Reed, Oren Ambarchi und zahlreichen anderen mitgewirkt sowie eine Reihe von Solowerken geschaffen, die Elemente seiner isländischen, dänischen und koreanischen Herkunft enthalten. Azure ist eine hypnotische Rückkehr zu Kenneys und Kangs einzigartigem Ausdruck von "Unisono-Musik" und gehört zu den am stärksten reduzierten und minimalistischen Arbeiten des Duos seit mehr als einem Jahrzehnt. Die fünf Kompositionen werden durch Anspielungen auf die natürliche Welt unterstrichen.

Kool Keith has long been hailed as hip-hop’s greatest eccentric. Over the course of a career stretching back to the mid-’80s, he’s perfected a singular style of abstract yet deadly precise rhyming that often focuses on subjects such as science fiction, hardcore pornography, and a distrust for the music industry. His sprawling discography includes numerous collaborations and aliases, with some of the most acclaimed including Dr. Octagon and Dr. Dooom, Black Elvis & Tashan Dorrsett. He began his career as the mind and mouth behind the Bronx-based Ultramagnetic MC’s, whose influential debut, Critical Beatdown, was released in 1988. Following the release of the band’s third album in 1993, Keith headed for the outer reaches of the stratosphere with a variety of solo projects. His lyrical thematics remained as free-flowing as they ever were with the N.Y.C. trio, connecting up complex meters with fierce, layers-deep metaphors and veiled criticisms of those who “water down the sound that comes from the ghetto”. Keith’s latest LP “Mr. Controller” entirely produced by Junkaz Lou is yet another work of art. No MC on the planet is so grimy and yet so polished — after years in the rap game, Kool Keith’s as unique as ever. TRACKLIST

New double-LP edition of a selection from Saltern’s acclaimed collection of recordings surveying the career of renowned, American cellist, Charles Curtis. Selected by Curtis and Tashi Wada from recordings spanning two decades, Performances & Recordings 1999-2018 offers a broad, inclusive view of Curtis’ activities across the diverse worlds of music he inhabits, featuring the music of

Featuring contributions from Brittany Howard, Daniel Tashian (Kacey Musgraves, Demi Lovato), Julien Baker + more. Since moving to Nashville to start their music career in 2012, Becca Mancari has been lauded for their dextrous songwriting and prodigious guitar playing. Their sophomore album The Greatest Part, released in 2020, was an indie rock opus that garnered acclaim from The New York Times, NPR, and more. After its release, however, Mancari was despairing. An illness in their family, coupled with a realization that their alcohol dependency had become untenable, led Mancari to begin the hard work of taking ownership of their existence by mending broken relationships and investing in their mental health. "I didn't realize it then, but looking back, I was a passenger in my own life," Mancari says. The transformative period of self-reckoning was the catalyst that ultimately steered Mancari to write and produce their triumphant new album, Left Hand. After a disheartening studio session with an outside producer, Becca became convinced that they were capable of rendering their vision independently. Close friend and musical ally Juan Solorzano, who has played on all of Mancari's albums since the debut of Good Woman in 2017, joined them in the studio to co-produce the majority of the record. In addition, Daniel Tashian (Kacey Musgraves, Demi Lovato) co-wrote and co-produced the song "Don't Close Your Eyes," encouraging Mancari to track every instrument on the initial demos. As much as self-producing this album was an act of resilience and growth in one's own craft, Mancari brought trusted friends like Brittany Howard, who they play with in Bermuda Triangle, Julien Baker and Zac Farro into the process. Insecurities that had dogged Mancari since childhood couldn't weather the force of energy in that studio, where they executed decisions with newfound certainty. The title track, "Left Hand," is named for the Mancari family crest. After a lifetime spent feeling like they didn't belong, Mancari unlocked a perfect metaphor in the crest: "In many cultures children born with a dominant left hand were taught not to use that hand, and were told that using the right hand was `normal' and `correct.' Similarly, queer children are often times told that it's not `normal' for them to love who they love and that they need to `change.'" On Left Hand, Mancari offers the listener a collection of songs that should be played in moments when we are in need of reassurance and encouragement. No song exemplifies this better than the ebullient track "Over and Over," which is a reminder to friends that happiness doesn't need to be fleeting. "I wanted to write a queer pop song that has meat on its bones," they say. Inspired by one of many reckless and joyful hangs with dear friends in Nashville, the enlivening pop song makes a promise to them, and to the greater community Mancari embraces on this album. "There is something to the feeling/ Head hanging out of the window/ Being ok that we don't know," sung on the chorus over a beat replete with congas and shakers. What follows is a promise to anyone who ever feels like the greatest moments of their life are disappearing in the rearview: "We can have it like we used to, over and over and over and over again." For Fans of boygenius, Phoebe Bridgers, Julien Baker, Julia Jacklin, Caroline Rose, Miya Folick, Molly Burch, Widowspeak.

Egyptian-Australian DJ/producer moktar announces his second boundary-pushing five track EP, ‘Immigrant’. An expressive and considered journey that combines his Middle Eastern heritage and influential club sounds in one.

‘Immigrant’ sees moktar continue to bring traditional Arabic instrumentation into the club by weaving samples like polyrhythmic drumming and the Arabic Oud into experimental club music which has captured the attention of many tastemakers. Giant Swan, Anz, Tash LC, Raji Rags, Jamie XX, Bonobo, Groove Armada, Hudson Mohawke, Mary Anne Hobbs and Jamz Supernova all championed his highly favoured self-titled EP in 2021, which topped the Australian community radio charts as a number #1 most played alongside the global support it received. The release represented re-learning the value of his Egyptian heritage following racism and stereotyping growing up. ‘Immigrant’ expands on the story.

Debut single ‘Immigrant’ was released in September and served as a backdrop for moktar to air the stories of many as well as his own, told through a chopped vocal sample of Arsenal Football Club’s host and hype man, Frimpon. ‘North Africa’ and ‘Al-Duqqi’ are a homage to moktar’s roots. ‘Crossroads’ represents his need to push himself and grow in life and music, and ‘Send it’ (a term in Australia that means you're about to do something wild) also aims to represent Middle Eastern communities in Bankstown, Sydney.

moktar explains - “Through Immigrant I wanted to highlight the struggle many people all over the world go through to be accepted, while representing the community in Egypt, North Africa and Australia. Fusing Middle Eastern sounds into sounds into my music has been a big part of helping me become proud of who I am. I feel passionate about bringing these sounds to a wider audience in the hope it helps others in the identity struggle feel a sense of pride too”

The EP falls just as moktar’s highly anticipated debut EU tour comes to a close, playing b2b with DJ Plead at Phonox for Yung Singh, Adaptations Festival, Repercussions Festival, Werkhaus Festival, b2b with Mr Scruff at Field Day, Lost Village, Amsterdam for ADE with Kode 9, Rex Club in Paris, and Takseer festival Berlin.

Celebrating 10 years at the top of their game, Quantize Recordings unleash a real collectors edition 12'' bringing together four of their biggest tracks to date all of which make their much anticipated debut on vinyl.

Featuring hand-picked, choice cuts from DJ Spen, Michele Chiavarini, Emmaculate, Terry Hunter, Reelsoul, Tasha LaRae & Rona Ray this is a timeless snapshot of Quantize’s undeniable impact on house music to date.

'Everything’s Fine', the third album from award-winning Matt Corby, due in 2023. It follows on from 2020’s stand-alone singles, ‘I Never Say A Word’ and ‘Vitamin’, and 2016’s J Award-winning Rainbow Valley. Matt has a loyal global fanbase, with sold out theatre shows across the world with over 325,000 albums sold and 300 million streams. His accolades include Triple J’s Album of the Year. Since the release of that record, Corby has also been busy running his own label and fine-tuning his skills as a producer, working with artists including Tash Sultana, Genesis Owusu and Budjerah.

'Everything’s Fine', the third album from award-winning Matt Corby, due in 2023. It follows on from 2020’s stand-alone singles, ‘I Never Say A Word’ and ‘Vitamin’, and 2016’s J Award-winning Rainbow Valley. Matt has a loyal global fanbase, with sold out theatre shows across the world with over 325,000 albums sold and 300 million streams. His accolades include Triple J’s Album of the Year. Since the release of that record, Corby has also been busy running his own label and fine-tuning his skills as a producer, working with artists including Tash Sultana, Genesis Owusu and Budjerah.

On her debut album Alone at Last, Tasha celebrates the radical political act of being exquisitely gentle with yourself. For years, the Chicago songwriter has dreamed hard of a better world_she's worked with the local racial justice organization Black Youth Project 100 and has been on the front lines at protests around the city. But as she returned to the guitar, an instrument her mother first taught her to play when she was 15 years old, she began exploring the ways music can be a powerful force for healing. Across Alone at Last's seven tracks, Tasha sings mantras of hope and restoration over lush guitar lines inspired by the stylings of Nai Palm and Lianne La Havas_both artists who, like Tasha, opt for a sweetness in their playing over the masculinized bravado that often accompanies the electric guitar. Alone at Last is a powerful talisman in a demanding world, and a reminder that kindness toward the self can help unlock the way to a world a little more livable than this one.

“I had to write myself back into existence,” says Jessie Baylin. “I’d been feeling lost, empty, unsure if I’d ever make music again, and I think this album came along to remind me of who I really am, of who I could still become.” Indeed, Jersey Girl is more than just another record for Baylin; it’s a radical act of self-actualization, a moving work of reflection and rebirth from an artist who’s spent the better part of her adult life running from her roots. Written and recorded with GRAMMY-winning producers Daniel Tashian and Ian Fitchuk (Kacey Musgraves, Birdy), the collection marks Baylin’s first release since the passing of her longtime collaborator Richard Swift, whose influence looms large here even in his absence, and it signals the start of a profound new chapter, one marked by love and empathy for the face staring back in the mirror. The songs are lush and dreamy here, drawing on a hazy palette of warm guitars and vintage keyboard tones, and Baylin’s performances are nothing short of mesmerizing, her tender voice front-and-center in the mix as she grapples with guilt and shame, pain and healing, purpose and identity. Baylin’s the first to tell you this wasn’t an easy record to make—in fact, it wasn’t a record she intended to make at all—but sometimes the biggest breakthroughs come from the most unexpected places. “I had to be tricked into writing these songs,” Baylin confesses, “but it was a good kind of trick. I didn’t realize what was happening until I was already in the midst of it, and that turned out to be exactly what I needed.”

Released to coincide with a pan-European tour kicking off in the UK, themulti-platinum double Grammy Award winning group Arrested
Development deliver 'For the FKN Love', a true hip-hop tour de force, once again executively produced by charismatic veteran frontman Speech and British production maestro Configa.Significantly, it marks the first time that Arrested Development have worked with equally legendary collaborators, making this their biggest ever release

Big Daddy Kane, The Sugarhill Gang, Masta Ace, Freddie Foxxx, Monie Love, Kxng Crooked, G. Love, Tony Momrelle (Incognito), Dee-1 and Fatman Scoop all feature. Legends of this calibre rarely do features and yet have graced this album. Arrested Development have always been dedicated to supporting up-and-coming talent, and this trend continues with the likes of Twan Mack, Dell-P, Lish, Ke'Andra,
4ize, Twisted Royalty, Cleveland P. Jones, MRK SX and Jahah all adding weight to proceedings. When it comes to boom bap and classic rap, few artists come close to Arrested Development.

The two-time Grammy Award winning hip-hop group was the first hip-hop group to ever receive the Grammy for Best New Artist, while also receiving one for Best Rap Single. Showing the group's widespread appeal, its track 'Tennessee' was later named by the Rock & Roll Hall Of Fame as one of the Top 500 Songs That Shaped Rock & Roll, while the group was recognised at the Black Music Honors Awards in 2019. Meanwhile, 1993's 'Unplugged' album was not only Gold-certified
by the RIAA, but proved influential as one of the first hip-hop performances from the institution that is MTV.

'Vibe' is the latest single from Arrested Development, as featuring Big Daddy Kane, Cleveland P. Jones and Tasha LaRae. Part of the new studio album 'For The FKN Love', 'Vibe' was produced by the aforementioned boom bap specialist Configa. Configa had previously worked with Arrested Development on 2020's acclaimed 16-track studio album 'Don't Fight Your Demons'.

From the meeting of the legendary Tsugaru Jamisen Maestro Chisato Yamada with volcanic mind of the composer Tasheshi Terauchi and his Oriental Fantastic Orchestra, a collaboration and a unique record, a conceptual work, is born in which innovative songs transcend the boundaries of traditional music by mixing modernity, rural and electronic atmospheres, local arias and contemporary music.
A record with strongly evocative and cinematic sounds.

Comes with OBI and a two-panel fold out sheet with original liner notes of the time translated in English that explains in an exhaustive way the inspirations from tradition and popular music and the very accurate digital recording techniques of the time that make it a record sought after by audiophiles looking for sounds unedited in the Western tradition.

Out Of Print On Vinyl For A Decade And A Half Mobb Deep’s “Free Agents” Hits For RSD Black Friday In A Never Seen, Never To Be Repeated Colored Vinyl Pressing. 5000 pressed worldwide. First released in 2003 on CD and LP. Out of print on vinyl since the mid-2000s. Mobb Deep redefined East Coast hip hop in the early 90s with their release “Juvenile Hell” and the break-out follow up “The Infamous.” As the group moved into the 2000s and parted ways with their long-time label, Loud, they released “Free Agents” as a celebration of their moving on to … well, free agent status. With Havoc handling production on all but 3 cuts and only two guest appearances (one being from long-time Queensbridge associate Big Noyd) “Free Agents” is uncut, undiluted Mobb Deep all the way through. The reaction from fans was solid catapulting the record to peak at number 21 on the Top 200 with a top 5 position on the R&B/Hip Hop charts. Out of print for well over a decade, this chapter in Mobb Deep’s legacy is back in effect for RSD Black Friday

Tashan, we believe is one of the greatest soul singers of modern times who first became known as a solo artist for his debut album 'Chasin A Dream' on Def Jam in 1986. There wasn't many better released soul albums in the 1980s. Tashan released was his 'Life Goez On' album in 2002. This album was only ever released on CD. We are releasing in partnership with Tashan two songs from the album in 'This Could Be' and 'After Hours.'

Black Truffle is very proud to present Peaks by Australian cellist Judith Hamann, her debut release of electro-acoustic music. Known mostly for her live performance work with composers including Sarah Hennies, Yvette Janine Jackson, Alvin Lucier, Tashi Wada, and La Monte Young, here she steps away from the cello, moving into an intimate dreamscape woven from recordings gathered over years of itinerant touring.

Peaks is a work in two distinct parts, crossfading between different landscapes and apertures; from rooftop to church, from stasis to flares of momentary romanticism. Peaks considers summits as being both above and below, reframing the idea of apex from a more intimate perspective. Hamann considers how our domestic and personal geographies might form their own apogees, meridians, or nadirs.

Assembled in 2019 while an artist in residence in Krems, Austria, Peaks begins with Hamann’s more familiar cello but soon unravels into resonant electronic interiors; Southern California nightscapes heard through windows, San Francisco bathroom fans, snatches of recordings of friends, hand organs, and engines. signal/centinela draws primarily on recordings from Hamann’s time living in San Diego, and carries with it a certain sense of nostalgia in the sense of homesickness, longing, and displacement of distance and time. Side B is composed from recordings gathered on a different continent, Europe, weaving piano with recordings of sleep, breath, church organ, and the act of climbing. under/over emerges as it recedes, overlapping moments of arrival to create another kind of ‘spire’ in the sense of spir (breath). Peaks, with its omission of any recordings from Hamann’s home of Australia, hints at how the very construction of home itself, might be restless, untethered, changeable, and malleable.

On Peaks, Hamann interrogates tropes of ambient concrète musics, intentionally pivoting formally around material which teeters on the edge of cliche. This exploration asks whether familiar frames of harmony, field recordings and narrative trajectories can excavate new territories, or be ruptured. Peaks untangles a very personal sense of tension between beauty and shame in experimental music: treating lushness and harmony as possessing potentially muscular musical properties that might wrestle with or construct senses of belonging and home.

Jac Berrocal, David Fenech and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed - in the sense of rawer, more volatile, more vulnerable - than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal's unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. It was honed during his time as a theatre and film actor, and in the 70s Paris improv scene, it powered his influential Catalogue group in the 1970s, numerous seminal, sui generis solo sides, and far-sighted collaborations with the likes of Nurse With Wound, Lol Coxhill, Pascal Comelade and James Chance which have seen him come to be valorised by two generations of avant-garde agitators and eccentrics. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognisable trumpet playing is a key feature - see especially the ghostly, dubwise take on Ornette's 'Lonely Woman', the dissolute exotica of 'Salta Girls', and the sublime echo-chamber soliloquy 'Opportunity'. But more often it's his voice that commands centre-stage, whether casually discharging surreal poetic monologues or moaning in animal despair - a vocal tour de force that transcends language and culminates in the Dionysian frenzy of 'Why', Berrocal's half-spoken, half-howled exclamations jostling with David Fenech's slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech's origins are in the mail-art scene of the early '90s, when he led the Peu Importe collective in Grenoble, and since then, in addition to his own recordings he has worked as a software developer at IRCAM and played with Jad Fair, Rhys Chatham and many others. Together with Vincent Epplay he is responsible for Ice Exposure's inspired arrangements and vivid, vertiginous sound design. Epplay is a visual artist and composer with particular interest in aleatory composition, concrete, and the reappropriation of vintage sound and film material. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock'n'roll ('Soundcheck' invokes the brutish spirit of Berrocal's hero Vince 'Rock N Roll Station' Taylor). On 'Blanche de Blanc', Berrocal's voice is framed by a groaning, ghoulish orchestra of industrial drones, while 'Equivoque' evokes the most humid and hostile Fourth World landscapes and 'Panic In Surabaya' lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. This is a searching and singular trio operating at the absolute peak of their powers, with an interplay that transcends studio and stage and occurs at an almost telepathic level. Ice Exposure is a triumph of that group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.













Panic In Surabaya

In line with the release of Blackfilm's new album "Zero One Seven", Denovali release the 2010 collaboration masterpiece "Along the Corridor" with Eraldo Bernocchi for the first time on vinyl.

"(...) From its heavy stone dropping bass to cinematic orchestration, beautiful piano melodies, and progressive dowtempo electronic beats, this collaboration between Eraldo Bernocchi and Blackfilm is an amazing find. Designed as a soundtrack for those lonely nights, walking through abandoned streets and skeleton buildings, Along The Corridors will keep you on the edge of your seat, with your imagination as the only projector for the cinema of your mind.

Italy's heavy dub producer Eraldo Bernocchi is not a new face to the scene. Starting out his career in the 90s, Bernocchi produced under many aliases. ... But it is the works under his real name that deserve the most attention. In 1999 he released Charged recording with Tashinori Kondo and Bill Laswell. In 2005 he appeared alongside Harold Budd in Music For 'Fragments From The Inside' on Sub Rosa. And in 2007 he recorded Manual together with Thomas Fehlmann for 21st Records. There are also numerous EPs with Bill Laswell under Apollo's Re-charged series....

Blackfilm, who continues to remain anonymous, is a Hungarian artist that was first introduced to us through his self-titled debut on the now defunct Spectraliquid Records. Since then, the album has been picked up by Denovali Records and repressed in 2010 on compact disc and vinyl. His dark atmospheric soundscapes and a bricolage of modern classical samples and instrumental hip-hop beats reminded me of my favorite works by Amon Tobin and Future Sound of London, for a brooding soundtrack enveloping your mind with heavy fog of penetrating sound. Since the release, Blackfilm has relocated to London where he has embedded himself with the heavyweights of dub and even darker journeys in the underground ..." Headphone Commute