Buscar:the craze

Ash sind seit 30 Jahren zusammen, aber es waren die zwei Jahre, die sie voneinander getrennt waren, die sie zu ihrem brillanten neuen Album inspirierten. Wie der Rest der Welt wurden auch Tim Wheeler (Gitarre/Gesang), Mark Hamilton (Bass) und Rick McMurray (Schlagzeug) von der Pandemie überrumpelt. Es war nicht nur die erste längere Auszeit, die die Band in ihrer unglaublichen drei Jahrzehnte währenden Karriere hatte, sondern auch die längste Zeit, in der die drei sich nicht gesehen hatten, seit sie sich in der Schule in Downpatrick, Nordirland, erstmals begegnet waren. Tim Wheeler - wie man es von einem der größten Songschreiber seiner Generation erwarten würde - hatte während Ashs Zwangspause weiter Songs geschrieben. Zum Reboot-Camp der Band erschien er bereit zum Loslegen mit einem Rucksack voller Hard-Rock-Hymnen. Und schwere Zeiten verlangen schließlich nach härterer Musik. Das selbst produzierte "Race The Night" - das achte Studioalbum der Band - ist in jeder Hinsicht herausragend. Aufgenommen im Oh Yeah-Studio in Belfast und mit neuem Fokus, kombiniert die Platte die unwiderstehlichen Rock-Riffs von "Meltdown" (2004) mit der melodischen Meisterschaft von "Free All Angels" (2001) - und das alles verpackt mit einem deutlichen Twist ins Jahr 2023. Und mit den fernen Anzeichen eines oft beschworenen Rock-Revivals am Horizont, könnte es das essentielle gitarrenzentrierte, hymnenreiche Album sein, auf das die Welt gewartet hat. Seit Ash als Teenager mit ihrem Nummer-Eins-Debütalbum "1977" aus Downpatrick auftauchten, ist die Band ein vitales, wachsendes Anliegen. Die meisten ihrer Zeitgenossen sind verschwunden oder haben sich zumindest aufgelöst, bevor sie zurückkehrten, aber Ashs Licht leuchtet so hell wie eh und je. Für dieses Album sind sie sogar zu Fierce Panda Records zurückgekehrt, die eine ihrer ersten Aufnahmen, "Punkboy", auf der 1994 erschienenen Crazed And Confused EP veröffentlicht haben.

Brand new 7-inch from the incredible duo The Double. Their first release since their debut album Dawn Of The Double in 2016. The Double are Emmett Kelly and Jim White—two dudes with resumes so massive it's not even worth bothering to try and drop names. For the recording session that produced this single they brought in bassist Matt Lux. The music The Double make is rhythmic, hypnotic and percussive. Says The Double of this new single, “after the Dance Craze, we took off to go relax in the jungle with our buddy Matt Lux”. 400 copies made.

Summer is now upon us, and with it one of our dearest dancefloor artillerymen returns to Timedance.

Ploy's « For when we haven’t slept » stands as a mission statement for the party athlete, it is a celebration of weekends ran like both a sprint and a marathon and its three tracks narrates the spirally craze that keeps you out and makes the dancers forget the sole existence of their beds.

Starting with the first hits of strobe lights on a Saturday night, as the energy rises and the dancefloor manically comes together (Crazy BB), it then moves on to a welcome and slightly hectic high octane after-party (Rose) before rolling all the way through to the sheer moments of lustful euphoria that defines the best Sunday sessions (Finally).

Bass pressure and intoxicating techno collide seamlessly without falling into the traps of forced seriousness, while hints of hook-laden house music keep the groove at peak levels, so the bodies can keep moving, beyond sleep and exhaustion and into the final stages of pure frenzy, for when we haven’t slept.

Repress!

Exceptional debut album of Military Space Music and / or Fluxus Techno rave drills from the inimitable, acronymic duo for Diagonal. RIYL Belgian Techno, SuperCollider, Powell, Lorenzo Senni,
the bleep test At long last N.M.O. execute their crazed debut album for Diagonal, distilling the playful calisthenics of their laptop and drum kit live show in a totally unique manner that somehow deconstructs and alliterates tracky acid techno with avant no-wave rock, computer music and the kind of snare-
driven tattoos coming out of Portugal's Príncipe label. Best just call it Military Space Music - Cleft as two corresponding but individual sides entitled Nordic Mediterranean Organisation
& Numerous Miscommunications Occur, it finds the Romantic Viking duo ratcheting the psychotomimetic intensity of their previous tape and trio of 12"s for Anòmia, The Death of Rave
and Where To Now according to their central mantra of As Strict As Possible, resulting in 5 alarming, powerful dancefloor raids intersected by infuriating locked grooves, or Neoliberal
Madness Offering #1-4, plus a series of barking trained Unit drills.
The razor sharp and raucous results don't sit comfortably in any pre-ordained category, preferring to scythe their own route thru the time-flattened field of contemporary music by employing
the fundamentals of physical pressure and precise psychoacoustic frequencies in a disciplined pursuit of new, syncretic sensations that toy with rave convention and serve to demystify notions of aerobic mysticism.
Nose to tail, they spell out their ideas with playfully pedantic attention to detail, whether physically making you get up to nudge the needle from its pervasive locked groove, putting you thru your
paces in their German Trained Unit challenges, or simply driving you to delirium in the album's full blown dance tracks.
Cut almost a side-a-piece for optimal intensity, those five dance cuts veer from the clashing sharp and wet, tight-but-distended dichotomies of RIYL Roma to the ploughing pneu-beta bass drum
and giddy top end tickle of New Bulgaria on the Nordic Mediterranean Organisation plate, to take
in the scuffling, compartmented swerve and teeth-chattering acid of Armchair Evader and what

The 4th Pumpkin Witch album released by Deathbomb Arc, and their first non-reissue for the label. Nothing can keep the Pumpkin Witch dead for long. The Witch is back! And her web of evil is larger than ever, her vile plans call for nothing short of world domination... The Three Dark Figures have conjured up 11 new tracks of creepy cackles and crazed cacophony that create an audiological kaleidoscope of terror. An emphasis on percussion and an evident influence from goth club music blends with the horror soundtrack-fueled dark ambience of albums past, making this perfect listening for any unholy ritual or cemetery soiree. You can lock your doors, board up your windows, and say your prayers but nothing can protect you from "The Return of the Pumpkin Witch"!

Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation of bizarre hits taken from the glorious catalog of records released during the 60s and 70s on the Peruvian label Discos MAG. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. “Sabroso Go Go” brings together fourteen musical mixes created in the recording studios of Manuel Antonio Guerrero (MAG), in which music directors combine rhythm with alchemy in a quest to find the philosopher's stone of the dance. Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation. Although this compilation begins in 1957, experiments like this (some more memorable than others) were not new in Peru. The songs on this album were however much more successful hybrids. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. At the end of the fifties, rock music shook the foundations of Peru, and orchestras rushed to cover hit songs and explore the possibilities of mixing them with tropical music. Lucho Macedo's orchestra took up the mantle and reinterpreted a well-known guaracha by Celia Cruz ('Rock and Roll') in mambo style, renaming it 'Rock and roll Mambo'. 'Maestro de Rock and Roll', a hit by the Cuban Conjunto Casino, received similar treatment. Another mix in this vein is the rock tune 'El Rock de los Chinos' by the Mexican Manolo Muñoz (author of 'Speedy González') recorded by the Chilean Choche Mérida for MAG in 1961. The following year, Chubby Checker’s 'The Twist' hit the scene and was immediately fused with guaracha by maestro Nelson Ferreyra. A legendary MAG musician, Carlos Pickling, composed 'La Charanga del Espacio' in 1963. The space sounds are produced by Pickling and his inseparable Hammond. He himself is the one who leads the orchestra that accompanies Benny Del Solar, Lita Branda and Pablo "Melcochita" Villanueva in the tropicalized version of Spanish Rumba, when the beats of the Iberian rumba were still exotic in South America. Around that time, the Chilean Willy Marambio was already living in Lima. In the track included on this album, the go-go style showcases his virtuosity on the trumpet. Another outstanding trumpet player, Roberto "Tito" Chicoma from Chiclayo, played as a session musician with MAG from 1959. A few years later, he became one of the most popular Colombian cumbia players, a talent he demonstrates in the song on this compilation, which blends the fun of go-go with yé-yé beats. 'Batijugando' was a hit from Mexico and was played in all the rhythms played across the Hispanic world since 1967. Inspired by the "Batman" series, it was performed at MAG by the Betico Salas orchestra, with vocals by the Panamanian lady crooner Nallye Fernández. 'Computador Electrónico' is another surprise on this album, performed by Panamanian vocalist Patty Pastel, it is the only known version in Spanish of 'Der Computer Nr. 3', originally sung in German by France Gall. Two other songs feature Edgar Zamudio. The versatility of Zamudio y Los Vikingos (originally a Chilean group) is demonstrated in the guitar-heavy song composed specifically for the late sixties skate fashion ('Go Go en Patines') and in his idiosyncratic protest song ('Día de Pago') performed in beat style. In the mid-seventies, Los Kintos, led by guitarist Francisco Acosta, developed different harmonic ideas in an instrumental track that veers from boogaloo to salsa, the fashionable rhythm of the day. Finally, in 1976, when the bumping hips dance craze swept the continent, Manuel Guerrero was quick to jump onto the bandwagon, composing a Bump song, together with his son Carlos. The Italian musician based in Lima, Luciano Luciani performed the song 'A Bailar Bump' backed by his band of local musicians Los Mulatos.

The Reverend Horton Heat ain’t
just a person, or a band—it’s a
state of mind. Drawing on such
crazed rockabilly ancestors as
Charlie Feathers, Hasil Adkins,
and The Killer himself, James
(Reverend Horton) Heath and his
long-time bassist Jimbo Wallace
have, over the course of the
last 30-plus years, helped bring
rockabilly kicking and screaming
into the modern age, marrying
punk with rockabilly to create the psychobilly genre.
And, on their 2000 album Spend the Night in the Box—which,
to burnish the “psycho” credentials, was produced by fellow
Texan Paul Leary of Butthole Surfers fame—The Reverend
Horton Heat struck gold (hence our gold vinyl edition!), going
to #2 on the CMJ charts on the strength of such numbers as
“Sue Jack Daniels,” “The Girl in Blue,” and other misbegotten
tales of babes and booze. This is actually a bit of a return to
a classic rockabilly/swing sound, powered by the Rev’s 1954
Gibson ES-175 and the rhythm section of Wallace and drummer
Scott Churilla, but it’s no less (ahem) heated. Vinyl debut
boasting inner sleeve with lyrics!

Japan's guitar hero Takeshi Terauchi reworks traditional songs and lets everything go wild with his magnificent and frenzied guitar sound. Enter the electrifying world of Eleki!

Gatefold 180g heavy vinyl LP, reverse board print. Comes with extensive liner notes by Japanese pop culture writer Julien Seveon (Cinexploitation)

All tracks licensed by King Record Co., Ltd., Tokyo, Japan.

Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

Artwork by Nker

The aftermath of World War II gave rise to a global phenomenon that saw new generations of young people rise up determined to forge new paths from their elders – culturally, politically, and musically. Japan was no exception and the recent past made the local youth angrier, hungrier and even more determined to fully experience something different from their parents. The country caught on to the early rock & roll craze almost in tandem as it was happening in the States. Teenager Chiemi Eri singing "Rock Around The Clock" and Kazuya Kosaka with "Heartbreak Hotel" were among the first to make what would soon be called Rokabiri accessible to a large audience. Teacher and parent associations showed concern regarding this new music when teenagers started missing school to attend afternoon shows – one of which most notably being the Nichigeki Western Carnival where all the top names of Rokabiri played to sold out audiences. But by the end of the 1950s, the youth of Japan had moved on to something else entirely: Eleki.

The 50s and 60s were a time of rapid change that saw trends come and go. Japan, like all other industrial countries, saw its youth move from one musical sensation to the next. And in the early 60s, there was one band in particular that created a distinct new flavor: The Ventures. Leaving behind vocals and focusing strictly on the impact of the sound of the electric guitar, The Ventures drove kids crazy all over the world. Other bands followed, most notably The Shadows, but in Japan, no other instrumental rock band managed to leave such an impact. The sound of The Ventures helped boost guitar sales in Japan and soon hundreds of cover bands were popping up all over the country. The Eleki Bumu (electric boom) was now in full effect with Takeshi Terauchi emerging as its first and greatest guitar hero.

Terauchi was born January 1939 in the prefecture of Tochigi, north of Tokyo. His mother taught music and played the shamisen – a traditional Japanese stringed instrument – while his father ran, among other things, an electronics shop. Their respective professions were to be decisive in the path that Terauchi would later take. Serendipitously, at the age of five, Takeshi was given his first instrument – a guitar. His destiny sealed, he quickly began experimenting with different tools from his father's shop to give his instrument a stronger sound. The technological approach came from his father, the technique from his mother. Terauchi's signature playing style owes a lot to his mother's instrument of choice, as he attacks the notes on his guitar as one plucks the strings of a shamisen.

This exceptional compilation you are holding in your hands explores some of the best works by Takeshi Terauchi, recorded between 1966 and 1974, where the guitar hero looks inwards to Japan for inspiration. A meeting between traditional folk songs and the unique way Terauchi and his band play: the content is explosive, inspired, and highly addictive! The 60s and 70s were undoubtedly Terauchi's finest hours, and in the late 60s, one Japanese critic said that Terauchi was not only the best guitarist in Japan, but also in the world. You can now find out why.

Turkish/Greek madness from Israel! 3 psych killers from Levitros, a lesser-known artist from what is known as the 'Israeli Greek craze' of the early 70's. Deep & intense, Kara Kaslar drops heavily after a long intro in what can only be described as a true tavern monster. On the B-side expect Farfisa and drum interpretations to Greek rooted tunes, made strictly to keep the crowds dancing all night long. Staple tracks from Fortuna's DJ sets, known only to few, until now !

What Mom Jeans have proved themselves capable of in the past 2 years is nothing short of fantastic. Growing from ordinary college students to national touring artists in a matter of months, the indie rock quartet has been on a trajectory most bands could only dream of. The DIY touring route quickly had to fall by the wayside, as 200, sometimes 300, kids were showing up to house shows in basements across the country. Often, the band wouldn’t make it through more than a few songs before police had to come shut it down. Now, you can find them in venues of increasing size around the states, as one of the most sought after acts in their genre. On a constant stream of buzz, pressing after pressing of their debut hit “Best Buds” (2016) has sold out and the fans cannot get enough of the music they have been putting out. Music that takes influence from predecessors such as Modern Baseball and The Front Bottoms, but adds that new flavor that sets them into a league of their own, The Mom Jeans craze is just beginning.

After Prette (pronounced as ‘pret’ which means fun in Dutch) successfully launched a stage to perform art, it only felt natural to also launch a platform to release art.

Prettemusic is an independent imprint that releases limited vinyl records.

Prettemusic hits the ground running with its first release – a stunning four-track debut EP from head honcho Koperblond. Koperblond (real name Wouter Beek) delivers a mix of Arabic hip-shaking and emotional trance euphoria to evoke intense dance floor ecstasy.

The opening track is ‘Kunti’, an Italo disco destroyer with a bold Bollywood spirit that will lure you in and awaken those hips. Next up is a remake of the brave starter – this new cocktail with hints of the original track has a high-energy zap-crazed feel and a groovy-moving non-stop sound. Two 100% floor fillers, guaranteed to raise the roof of your nearest discotheque!

On the flip side ‘I Want Your Love’ – an emotional love story with a journey through the track that feels like a taste of real love. From happiness and grief to hope and hopelessness, it bursts loudly and with great force. It is a true reminder that love will save the day. Multi-instrumentalist DJ and producer Rose Ringed reinterprets this ode to love using his typical sound palette. The result is a big room banger ready to be served alongside fireworks and CO2 cannons. It is Rose Ringed’s first vinyl outing following releases on his label, Closed Eyes Records, and Solomun’s world-famous Diynamic.

This Prettemusic release comes on exclusive Koperblond-coloured (copper blond in Dutch) vinyl alongside a unique two-front artwork from abstract painter Harry Markusse and fine-art photographer Pieter Bas Bouwman.

Cacophony is the second Rudimentary Peni album. Released after the band returned from their first hiatus following a series of personal events that changed the band forever. The thirty track LP keeps turning heads 34 years after its release. Far from writing another “Death Church” the band embarked on a truly bizarre quest - to record an album based on the life and writings of horrors absolute king H.P. Lovecraft. A dense cacophony of total free songwriting. Dark, gothic, intricate, unexpected head-scratching punk. The short bursts of music twist and turn at every corner - the vocals are part classic Blinko and part spoken word, the guitar is full of distorted awkward tones and the very inventive bass and drums are locked together creating a truly unique album. Cacophony is the benchmark of outsider Punk and the influence and cult nature of this album grows with every passing year. This reissue stays close to the original version, with Nick Blinko’s incredible cover art, including a 11” x 11” 8-page lyric booklet.

In summer 1958, João Gilberto -an unknown 28 year-old Brazilian guitarist and singer from Bahia- made his recording debut as a singer with two songs "Chega de Saudade" and "Bim Bom." With a new rhythmic feeling, batida, and rich harmonies he laid the basis of the modern Brazilian samba, now known as Bossa Nova. Underpinned by his insouciantly swinging guitar, Joãos seductive, vibratoless vocals caressed both ear and soul in a mesmerizing, highly addictive combination, refreshing and modern. Chega de Saudade was a hit, launching Gilbertos career and the bossa nova craze. Soon, singers and guitarists were trying to imitate him and composers were all on a Desafinado (the second Gilbertos hit) and Chega de Saudade kick. The longawaited renewal of the Brazilian samba was now a fact. Antonio Carlos Jobim said: Gilberto appeared as a light, as a big star in the firmament, in the heavens. He became a focus, because he was pulling the guitar in one way and singing the other way, which created a third thing that was profound. Yes, the guy who brought the Bossa Nova beat to the world was João Gilberto.

Collection of 1980's music for aerobics and fitness craze in Yugoslavia inspired by Jane Fonda. Composed by famed film music maestro Alfi Kabiljo, the winner of The Camille Lifetime Achievement Award 2022 by European Composer and Songwriter Alliance (ECSA). His trip to disco, funk and jazz, exclusively made for gym and aerobics classes by Sylvie Vartan's dance pupil Vesna Mimica is presented here for the first time in the form of unreleased instrumental versions and dubs from the original studio...

Iris DeMent released Infamous Angel in 1992 - Nearly 30 years later, the
album remains among the most singular and fully realized singersongwriter debuts since the invention of that category in the early '70s
The abiding strengths of the album are especially impressive ' even a bit startling '
because 1992 is not a moment usually associated with her intimate brand of
acoustic country music. In country history, the year 1992 is most immediately
affiliated with Garth Brooks, whose album, The Chase, topped both the country
and pop album charts that year, and with Billy Ray Cyrus' 'Achy Breaky Heart,'
which fueled a line dance craze. Squeezed into a playlist alongside such hits,
DeMent's doleful, hushed 'Our Town' would've sounded as if it were being
broadcast from another planet. 'People call me country,' she told journalist Ben
Thompson while on tour in Britain a couple years later. 'But country doesn't call
me country.' Let's call her country. The genre is always more expansive than what
radio stations program. It happened Infamous Angel is close kin to a different
sort of country music that was just then having a moment: specifically, country
singer- songwriters, focusing on personal, but universal, loss and hope and
favoring small acoustic combos. It may have been out of step with the
mainstream, but Infamous Angel arrived right on time

Slade were unstoppable throughout the seventies becoming one of Europe's biggest bands, releasing 6 smash hit albums, including three UK No-1’s, a run of 17 consecutive Top 20 singles and their hits are synonymous with the glam era. First released in 1973, this splatter vinyl of ‘Sladest’ hears the band smash through a series of hits and covers including Cum On Feel The Noize, Mama Weer All Crazee Now and Coz I Luv You

Repressed !

We are proud to present a set of edits of this long-lost classic from the golden age of African music, from a figure who is still beginning to get his props internationally, Eji Oyewole.

Born to a royal lineage in Ibadan, Prince Eji Oyewole has had a career as a flautist, saxophonist and sometime bandleader spanning well over half a century. He trained both in Nigeria and then at Trinity the prestigious music school in London, and his life as an itinerant musician also saw him living for extensive periods in Geneva, Hamburg and in Lyon.

While for many years Fela Kuti (with whom Eji played) and King Sunny Adé commanded international attention to the exclusion of most other Nigerian musicians, as if there was only room for one Nigerian superstar at a time on the world stage, on the domestic scene things were very different. Eji was part of the huge craze for ‘highlife’, a generic term that in fact subsumed many different styles, united in their fusion of traditional west African forms with jazz influences and electric instruments, and in the bands’ working practices as entertainers at the nation’s numerous hotel / nightclubs. As this cracking album, recorded for EMI Nigeria at the tail end of the ‘70s and now remastered, reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher, horn- laden sound, seemingly influenced as much by American funk as it was jazz, and of course with the heavy percussive undertow central to most African music.

This gave Eji a chance to shine, and there are some scorching solos as well as tight ensemble playing across the four lengthy (to ears accustomed to the three-minute pop song) songs. Eji also played piano on the session. The material has an element of social commentary (Oil Boom and Unity In Africa) and should help feed the seemingly insatiable appetites of the many who have been turned onto African music by the enterprising efforts of devoted collectors, labels and fellow fans.

Surely one of the few musicians who has played with Fela, Miles Davis and Bob Marley, Eji Oyewole still plays regularly in Lagos, recently had an album of new material out with his current band The Afrobars, and has been a member of Faaji Agba, a super-group that has toured internationally and been dubbed ‘the Nigerian Buena-Vista Social Club’.

By the late 1980's Ton Lebbink was a well respected figure in Amsterdam's alternative scene: he was the drummer for the Amsterdam post punk group Mecano, a true punk poet and worked as a bouncer at Amsterdam's main music venue Paradiso. He released two solo albums, both in his unique narcotic style: laying absurd Dutch wordplay over stripped down frigid instrumentals. As the decade came to an end, Ton - already well in his forties - moved away from the often destructive and dangerous nightlife. After a series of odd jobs Ton started as a fitness instructor at an Amsterdam gym called Splash. Meanwhile, the 90's brought the latest musical craze to Amsterdam: House music began to flourish through clubs like RoXy, iT and Mazzo. With House being the ideal score for his fitness classes, the once well known cult figure faded into anonymity at a 120 beats per minute. His musical endeavours were focusing more on finding the right beats for aerobics exercises with self-devised exercise - eventually leading Ton to bootleg some of them on cassette tapes himself. In parallel to this radical shift, Ton did not stop making music. On the contrary, piles of demos showed high activity but in a direction no one was looking. Inspired by music to move to, Ton recorded hours of music that activated the body while staying true to his playful mindset. Discarding his voice as an instrument, the Roland W-30 sampler became his tool to communicate. Gathering vocal snippets from close friends, barflies and pets, a repertoire developed where witty repetitiveness could exist. Going through a vast collection of demos, pictures and many anecdotes, Rubber has been able to create an EP that gives insight into Ton's overlooked 90's era. Three playful dance tracks by Ton Lebbink taking his complete own take on the Amsterdam House revolution of the 90's. Full of inventiveness: hip-shaking grooves, hypnotic beats and rousing vocals. Tracks to move to and tracks to groove to. Essential dancefloor workout tunes for you and me. Ah yeah!

Lionel "Vinyl" Williams is an American multimedia artist based in Los Angeles. Vinyl Williams" music is deeply intertwined with his other media of expression (graphic design, interactive website, and videos) with whom he shapes a consistent immersive new-age-infused psychedelic universe. Vinyl Williams" celestial pop is part of the construction of his own Cosmopolis, an ideal city, where the skyline is drawn by marvelous organic architecture and monumental ancient structures, where while walking on twisted paths, you can hear indistinctly lush vocals, iridescent gauzy keyboard harmonies, and rolling rhythms. Without acknowledging it, you are floating, your soul can ramble, free to imagine. Musically, Cosmopolis is a synthesis of Williams" craze, his contemporary dream-pop production, 60s sunshine pop influences, Brasilian Tropicália hints, jazz chords, and complex arrangement. With this sixth album, Cosmopolis, Vinyl Williams continues to dig deep into his parallel universe, which he has developed with a rare consistency. From chaos emerges harmony and incredible pop songs. For fans of Triptides, Gold Celeste, Toro y Moi, Unknown Mortal Orchestra, GUM, Tame Impala, Swin Mountain, Chris Cohen, Morgan Delt, Dungen, Dumbo Gets Mad, Pond, Maston, Holy Wave, Arthur Verocai, The Free Design, The Association, Once And Future Band...