Buscar:the dig

Short while after Anushka's debut album "Halfie", that has won her "Tsinandali Prize" and has been nominated for "The Album Of The Year 2020" Impala awards, 23 years old Anushka Chkheidze is back with her second album "Move 20-21". Created during 2020 pandemics, spent mostly in lockdown. In Anushkas own words "Move 20 – 21" is a mind journey through space and time without any physical movement.

Digitally released earlier 2021, "Move 20-21" cout the attention of Music Moves Europe Talent Awards; has been nemed as "Band of the day" by Europavox; has been choosen as track of the day by KEXP; has been broadcasted by United We Stream for FEMMELY AFFAIR in the light of International Women's Day 2021.

Digitmovies is proud to release on LP the OST by Ennio Morricone: "Noi lazzaroni" (aka "We Rascals”). Ennio Morricone has composed a very "rural" score with the sounds, that represent the life of the protagonist. Although integrated within modern society, the soul of this man is always directed to his past, to his land, to the teachings of his father which he could never leave behind. This adherence to the homeland is expressed through deliberately wild and almost enraged vocal performances of Edda Dell'Orso. Ennio Morricone has composed music which reflects the bucolic atmosphere of this tale through a series of archaically flavoured themes played by instruments like recorder and mandolin. Among the recurrent themes there are a mysterious motif, dramatic music for dissonant strings and a lounge theme with the typical Morricone sound. The main theme is reprised for recorder and guitar and there is Baroque music for the puppet theater played by woodwinds and percussions. Our LP contains two bonus tracks, unreleased alternate takes of the original album versions which will surely be quite attractive for fans and scholars of the music of Ennio Morricone.

Digitmovies proudly presents on LP another musical jewel by Ennio Morricone from the TV movie broadcasted by Italian Rai Television in 1978 "Il prigioniero" (aka "The Prisoner”). Ennio Morricone has composed an extremely serious score which reflects the whole sentimental and dramatic side of the historic atmosphere, in which the protagonist is immersed. The author varies the main theme with different orchestrations: the romantic, but nostalgic "L'estate è finita" for flute, harpsichord and orchestra, reprised with harpsichord chromatism and with harpsichord and orchestra. The second motif "I due prigionieri" is introduced by the solo flutes in an almost experimental context, later accompanied by cellos and basses and then reprised as a background to psychological suspense with brass, piano and vibes and with fascinating variations. This painful atmosphere is broken up by "source music" which re-creates the sound of that era, like the Sicilian folk song for voice and guitar "Si l'ammuri" and the romantic old- fashioned romantic tune for male voice, piano and guitar "Dove sei amore".

[a] a1 L'estate È Finita [Versione Singolo Lato A]
[b] a2 I Due Prigionieri [Versione Singolo Lato B]

[d] a4 I Due Prigionieri [Versione 2]
[e] a5 L'estate È Finita [Versione 2]

[g] b1 L'estate È Finita [Versione 3]
[h] b2 I Due Prigionieri [Versione 3]
[i] b3 Dove Sei Amore [Versione Vocal]
[j] b4 I Due Prigionieri [Versione 5]
[k] b5 L'estate È Finita [Versione 5]

TOTAL turns 21 this year, and Kompakt’s venerable compilation series couldn’t have asked for a more auspicious coming-of-age collection. If TOTAL 20 was consolidation against the odds, the Kompakt crew producing for a dreamt-of dancefloor in an uncertain future, then TOTAL 21 feels abuzz and alive with possibilities. Significantly, it’s the first TOTAL in some time that’s streamlined down to a single disc; this makes TOTAL 21 even punchier than usual, a joyous, reflective, and always thrilling 75-minute audio scan of the world according to Kompakt.

As with every instalment of TOTAL, there’s a deft balancing here of Kompakt regulars and new blood. Of the latter, there’s a first appearance by KOLLMORGEN, remixed by PATRICE BÄUMEL into an astral torch song; Amsterdam’s NICKY ELISABETH, offering up ROMAN FLÜGEL’s pulsating, arpeggiated remix of “Celeste”; and CAPTAIN MUSTACHE swoops down into view, PLAY PAUL in tow, with the dream-like electro lift-off that is “Everything”. JONATHAN KASPAR also drops by with a new track, “Von Draussen”, a stealthy and lethal floor-hugger with prowling bass.

Elsewhere, there’s the lead track to MICHAEL MAYER’s astonishing recent EP, “Brainwave Technology”, which not-so-gently spears the tech-futurist babble of AI, transhumanism and posthumanism, soundtracked by one of Mayer’s typically lush, glimmering soundscapes. JOHN TEJADA reaches back to the heyday of glitch and dub techno with the gorgeous “Spectral Progressions”, while the brothers VOIGT & VOIGT, on “Nicht Mein Job”, seem reinvigorated by the interwoven patterns and funky minimalism of the Profan days. Not to be outdone, JÜRGEN PAAPE kicks TOTAL 21 with “La Guittara Romantica”, a chiming and lilting lullaby for woozy late-night reflection.

Throughout, it feels as though Kompakt are taking a moment to both breathe in the dust of the past and look forward to a bright future. Perhaps that’s why, on “Fasson”, SASCHA FUNKE seems so confident, with pinprick melodies bouncing around a hall of audio mirrors, or why THE BIONAUT returns with “Blue Sky Motor Lodge”, a song so moistly melancholy, so enduringly lovely, it’ll make you weep tears of joy. ROBAG WRUHME gets a little delirious on the ticking, twisting “No”, and then GUI BORATTO mops everything up with the bubbling, bumping glam-stomp “Wake Up”.

That’s not all – spring for the digital and/or vinyl edition and you’ll get a new cut, “Happy”, from MICHAEL MAYER, and MARC ROMBOY & C.A.R.’s “I Am A Dancer”. But however you choose to play it, now TOTAL’s turned 21, it’s your duty to throw it the celebration to end all celebrations. Let the party begin, and don’t forget to bring a party favor…

Black Vinyl LP with double-sided insert with historical information. Released in collaboration with the Alan Lomax Archive. First pressing 2011, second pressing 2021
These are the first recordings made of Fred McDowell—before the folk festivals and blues clubs, before “Mississippi” was inserted in front of his name, before the Rolling Stones covered his “You Got To Move.” They’re the sound of the music McDowell played on his porch, at picnics, and juke joints; with his friends and family; occasionally for money but always for pleasure. Remastered from 24-bit digital transfers of Alan Lomax’s original tapes, and annotated by Arhoolie Records’ Adam Machado and the Alan Lomax Archive’s Nathan Salsburg, they are an illustration of the mind-blowing revelation that was Fred McDowell.
On the first day of fall, 1959, in Como, Mississippi, a farmer named Fred McDowell emerged from the woods and ambled over to his neighbor Lonnie Young’s front porch with a guitar in hand. Alan Lomax and Shirley Collins were there recording the Young brothers’ fife and drum ensemble, as well as the raggy old country dance music of their neighbors, the Pratcher brothers, and they had no idea what to expect from this slight man in overalls. They certainly didn’t expect that Fred would soon become internationally known as one of the most original, talented, and affecting country bluesmen ever recorded.

Along with James Brown and Parliament-Funkadelic, Sly & the Family Stone virtually invented 1970’s funk. Their fusion of R&B rhythms, infectious melodies, and psychedelia created a new pop/soul/rock hybrid. The impact of Sly’s music has proven widespread and long-lasting. For instance, Motown producer Norman Whitfield patterned the label’s forays into harder- driving, socially relevant material (such as The Temptations’ “Runaway Child” and “Ball of Confusion”) based on their sound.

The pioneering Stone had a major influence in the 1980’s on artists such as Prince and Rick James. Legions of artists from the 1990’s forward - including Public Enemy, Fatboy Slim, Arrested Devellopment, Beck and many others - mined Stone’s back catalog for samples.

For those not familiar with Sly this 2LP set is a great introduction and an invitation to dig deeper into Sly & The Family Stone’s catalogue. This 20 track compilation covers all the hits & fan favourites from the 1968-1974 period.

The Best Of Sly and The Family Stone is now available as a limited edition of 2000 numbered copies on transparent pink vinyl.

2024 Restock

Space Afrika follow last year's heartbreaking x perception-bending mixtape "hybtwibt?" with an anxious patchwork of drill bass, reflective musique concrete and after-hours surrealism >> singular deep headspace exploration to file alongside Mark Leckey, Perila, Burial or Klein.

Assembled to accompany a short film from Manchester-born visual artist, poet and filmmaker Tibyan Mahawah Sanoh, Joshua Inyang and Joshua Tarelle’s newest is a cinematic audit of identity and ancestry. In the film, Sanoh works hard to visually illustrate an honest and vulnerable picture of her soul. Inyang and Tarelle respond by doing the same with sound, collaging disparate elements together in a way that should be familiar to anyone who heard "hybtwibt?" or their jawdropping RA mix from earlier this year.

Warped field recordings, overdriven rhythmic pressure, syrupy pads and disorienting vocals are cut and pasted over each other, generating a living, breathing study of the duo's Northern working class Black British reality. Unlike the duo's acclaimed "Somewhere Decent To Live" full-length, elements mutate and transform: mushy noise bends into street sounds, haunted vocals into echoing drill melancholia and muffled howls into shattered digital remnants.

The main event is the full 10-minute soundtrack, that's layered with Sanoh's disorienting and deeply personal poetry and echoes Mark Leckey's recent "In This Lingering Twilight Sparkle". Then the EP is bumped up with three sketches from the same sessions, two of which never made it to the final mixdown. 'Version 3' is a particular highlight, pasting heartbreaking piano and blowtorched vocal loops over winding drill bass > sounds like Burial remixing Unknown T into pure syrup.

a 1. Untitled (To Describe You) OST feat. Tibyan Mahawah Sanoh 10:50

a 1 | Untitled (To Describe You) OST feat. Tibyan Mahawah Sanoh 10 50

The UK underground entity only known as Sleep Token, fronted by Vessel, began the Sundowning ritual June 20th 2019 with ‘The Night Does Not Belong To God’. Sleep Token began to release their ‘offerings’ bi-weekly, released Thursday’s at Sundown BST with accompanying visualizers. Each offering had its own emblem, establishing the Sleep Token universe on the debut album Sundowning. This June 18th, 2021, the cycle begins again but born anew. The new album 'This Place Will Become Your Tomb', pushes the boundaries of Sleep Token's sound into new avenues of blurring genres while still retaining the signature sounds you'd expect. Available on CD digi pack.

Proud to announce the first vinyl-only release of Rythmē, the Turin queer party made with the effort of all of his lovers and dancers. The A-side opens with “Tomorrowasteland”, an open question about the dancefloor of tomorrow – a dystopic stomper with ready-made and punk attitude. Hard Ton served a luscious waterfall of synths on their original take of Fabrizio Modonese Palumbo’s song while Matteo Coffetti “Kelakitun’s Pipe” explore an exotic imaginary with an Indian touch. Last but not least, an original track of Barabbah closes this heavyweight vinyl with a sunny and techy stomper. And yes, inside the sleeve there’s also a download code for a Rythmē exclusive and digital only edit…

“After many years and EP released, the idea of working on something bigger was growing in me. This project is a natural way for me to introducing myself by showing my musical signature, a generous & mesmerizing sound, taking influences into ethereal colors in order to impact the listeners with a powerful & vibing sound, also by bringing some ideas I never dare to put here. “

Nikitch is a versatile musician, making his unique signature by using classical music as much as Jazz & electronic music. He rapidly get supports by tastemakers Gilles Peterson & Laurent Garnier, playing his music all around the world, and also working with labels like Ninja Tune, Brownswood or Soulection. France based but open to the whole musical world, his projects and collaborations goes from Brussels based producer Kuna Maze to french Rapper Grems passing by UK singer Andreya Triana. After a bunch of remixes ( DJ Cam, Submotion Orchestra, Ghost Of Christmas) and some releases on prestigious labels as Chateau Bruyant, Cascade Records or Tru Thoughts, he just joined the Casamance team to release his first LP, which will be out in September 24th.

A work that literally immerses the listener into an acoustical substance. The sound becomes almost like matter, like jelly. Soon, you're swimming in sound, getting lost inside it.

With the Sonic Waters project initiated in 1978, my aim was to situate field of electronic music within a liberating and futuristic experience, outside the concert halls and in sync with the development of new instruments - in particular the Synclavier digital synthesizer, the first model of which I acquired in 1977. As concert space, the Pacific Ocean seemed to me to be the ideal experimental medium for both acoustic and cultural reasons. I then developed the aesthetic and technical elements that would contribute to the conception of Underwater Music. Numerous performances would follow spanning four decades, in natural sites or in large public pools such as those of Sydney, Paris or Venice during the 2006 Biennale.

Michel Redolfi (1951), French composer and sound artist, is the founder of Underwater Music. The natural elements captured and highlighted by experimental technology are a constant in Redolfi's catalogue: many compositions explore the earth environments such as in 'Pacific Tubular Waves', 'Jungles', 'Desert Tracks' (re-released on Sub Rosa records) and especially with 'Sonic Waters', a work that literally immerses the listener into an acoustical substance. During the mid-seventies Redolfi carried out his electro-acoustic research in the United States, with major electronic music centers including the California Institute of the Arts and chiefly the University of California in San Diego. As invited resident of their studios, Michel Redolfi launched the underwater music concerts, with the series 'Sonic Waters' performed in the Pacific Ocean. Michel Redolfi's underwater creations have since been regularly programmed by major international festivals, with multi-media installations held in ecological marine reserves or in historical city pools. Among them, the Sydney Festival, Paris 'Nuit Blanche', Ars Electronica in Linz, the 2006 Venice Biennale (nominated Golden Lion) and lately the 2018 Ars Musica festival in Brussels. This record presents different variations of Sonic Waters from 1980 to 1987, alternating studio mixes with their re-recordings in the depths of the Pacific. Michel Redolfi CD's and LP's are currently published by Sub Rosa, INA-GRM and Radio France.

HIGHLIGHTS: Two head-nodding psych anthems from Peru mixing surf guitars with fuzz effects, fierce Latin percussion_ making them sound as if Hendrix and Santana would have joined a cumbia combo! Another exciting dig into the hidden musical treasures of late '60s Peru. DESCRIPTION: Los Sideral's were a Peruvian band founded in 1967. Their first recordings are heavily influenced by the surf intrumentals and tropical sounds, mastering the cumbia guitar like few others. At the edge of the new decade, psychedelic and funk ingredients were also incorporated. 'Dongoh' is the result of this musical journey, as if Hendrix and Santana would have joined a cumbia combo, mixing surf guitars with fuzz effects, fierce Latin percussion_ 'Vírgenes del Sol' is a surf-guitar driven dancefloor anthem that became their most popular song. Both recordings see now their reissue on a 7" vinyl for the first time. Another exciting dig into the hidden musical treasures of late '60s Peru.

Mission Escape: signal incoming...Escaping Earth - file loaded...press enter --> program launched! When things become too much, escaping might help. Take a seat and join the ride with CYRK's first full length musical player on CHILDHOOD. After having released outstanding records on labels such as Running Back, Rawax, Burial Soil, Vakant, Avoidant, Dred, Science Cult, Lone Romantic and their own Time Zero imprint, the seminal Berlin machine funk duo launched their analog spaceship studio once again to tell their most advanced and versatile intergalactic tale to date. Escaping Earth is a story that comes in 8 episodes and showcases Sam and Pascals mastered skills in detailed sound design and arrangement, while always keeping a focus on powerful dancefloor oriented electro grooves. Ranging from Detroit influenced bassline bouncers to slower acid variations, this album will let you dive deeply into CYRK's beautiful musical language and range: a soulful journey from the light to the darkness and back. Above all, this album is at all times pure analog electronic funk and won't let you go from beginning to end. Sometimes escaping helps. This musical story will make you travel the stars with ease. The album is pressed DJ friendly on 2 x 12" vinyl and includes a download copy. A limited edition of 100 numbered copies comes in double colored (red/green) records and will be exclusively sold via CHILDHOOD's bandcamp page as well as the CLONE store. Vinyl to be released on September 13th 2021, followed by the digital release on September 24th 2021.

More obscurities from Jerusalem's underbelly, raash records.
Debut release of Ido Mandil's solo project/counterpart - Rasham.
Five tracks naturally blending noisey, indstruial oriented patterns with folkish outsider work songs.Opening with a chilling apathetic drone, quickly pivoting to a brutal grinding of machines, strings ,gritty vocals and tired limbs.
Or, simply a memoir of a man being digested by a city.

Good for lovers of Spk, the Bugger, Test Dept and Esplendor Geometrico

Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro’s forgotten masterpiece Obnoxius. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade’s first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Today, very little is known about Jose Mauro and as a result those searching for some kind of insight on the man behind the music must attempt to glean what they can from the music itself. One rumour claims he died in a car accident shortly before the album’s release, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. The political turmoil from which the album emerged is significant also; recorded during an era of oppressive state censorship, the album, like all the Quartin catalogue, is the result of steadfast defiance in the face of a crushing military dictatorship. While many musicians of the era fled the country, preferring their prospects in the affluent, liberated USA, rebellious, young musicians like Mauro chose to stay and reflect their anger at the authorities through thinly veiled protest songs such as the stirring ‘Apocalipse’. Herein lies the basis for a more dramatic theory; that Mauro was in fact abducted by the military! Whatever the truth, the mystery remains unsolved, and all that remains is his bewitching music, all of which is composed by Mauro and Ana Maria Bahiana. Production on the record was cancelled after Mauro’s death and it was never sold commercially until its rerelease decades later. What appeal does Mauro’s music hold to today’s listeners, forty-something years removed from its conception? Simply put, there is very little else that sounds much like it all. Take the title track of ‘Obnoxius’. A wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro’s yearning vocals. The result is indicative of Mauro’s unique blend of sounds from Latin Jazz and samba to psychedelic folk and baroque orchestration.

Today, Obnoxius retains its strange, otherworldly appeal – A firm favourite amongst a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points. Jose Mauro’s mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro’s confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener an almost trance-like state of ecstasy. Mauro’s long hidden masterpiece, a complex and uniquely stunning work is being offered the chance to be heard by the wider audience it has always deserved. A second Jose Mauro release, A Viagem Des Horas, compiling more incredible tracks unreleased in Mauro’s lifetime, will follow, alongside other unreleased jewels from the Quartin catalogue, from the likes of Piri and Victor Assis Brasil…

Residing in Rio de Janeiro, Vasconcelos Sentimento is a self-taught composer, producer and multi-instrumentalist. A mosaic of lo-fi breaks, cosmic ambient jazz and wonky chromatic funk, the eccentric Brazilian DIY wizard’s debut album Furto beautifully pieces together a huge range of seemingly disparate sonic elements. Calling himself an “amateur euphoric sound researcher”, he has no formal training in either music theory or production, and it’s simply by following his ear that has led him to creating his debut album for Far Out Recordings.

It was his fascination with his fellow countryman, the enigmatic, psychedelic 70s folk artist Jose Mauro, that led the young Vasconcelos Sentimento (real name Guilherme Esteves) to first make contact with Far Out. Coincidentally living in the same region as Mauro, Sentimento managed to track him down and put label boss Joe Davis in touch, after Davis had spent years of what felt like hopeless searching for the man many assumed dead.

When Joe and the Far Out team heard Guilhermes’ own music, there was a sense of shock. “It was unlike anything we’d heard before, but it also sounded curiously at home on Far Out. Like it had taken little pieces of different releases from the catalogue, and all the music from the ‘60s onwards that influences everything we do, and recreated all that magic in such an exciting new way”.

Indeed, Sentimento is not afraid to admit what he himself sees as acts of theft. (Furto=Theft in Portuguese). But while the debate surrounding the ethics of sampling is a never ending one, Sentimento’s music - while it does contain the odd sample, including an interview with Joe Davis himself, “One For The Masta Digga”) - steals in an entirely different way. His creative process involves an intensive period, in which he’ll listen to just one artist or song over and over, for days and weeks on end. Then he’ll head to his rudimentary bedroom studio, which, as he puts it, is “built for speed”, hit record and “blurt” whatever comes out. “I never spend more than a day working on any one song idea”...

Picasso once said “lesser artists borrow; great artists steal”. And it’s through this process of ‘Furto’ that Vasconcelos Sentimento has somewhat ironically cultivated a sound that is unmistakably his own.

Furto is due for vinyl, CD and digital release on 30th July 2021, via Far Out Recordings.

Kamana is a multiformat release inspired by and channeling the culture and traditions of the Aeta, an indigenous group from the Zambales region in the Philippines. One of the oldest inhabitants of the region the Aetas are also some of the most fascinating and ancient nomadic and hunter gathering cultures. The release goes from the realms of the
real to the imaginary, from transcription to syncretism, from concrete to abstract. An (un)real Sonic Exorcism filled with Ancestral Frequencies, Haunted Ghosts and other animistic spirits roaming the Pinatubo forests.
The release features a series of materials released in different formats from the Field recording digital only release, an LP and CD release to a special 7inch vinyl featuring an Interview with a bat hunter.
“Kamana is a long due homage to the Aeta community that hosted me a few years back, fascinated by the endurance of these people and their connection to their land, devastated by the eruption of the Pinatubo volcano in 1991, they continued to go back to their ancestral lands surviving on basic agriculture and hunting bats and wild pigs. Living with them for weeks, I managed to capture some essential field recordings and sounds that form and com- pose the basis for this release, from the more reprocessed and interpreted LP release to the pure field recording documentation of the digital release. It is meant to be accessible to all and provide a window to the livelihoods of these unique communities. For this reason, this release serves as both an archival document and a syncretic one, trying to channel memories and feelings of living in these jungles whilst listening to their stories as well as witnessing their lifestyles.”
Carlos Casas, 2021

With COVID restrictions now easing, and fresh off the back of their ongoing in-lockdown Quarantine Series, as well as EP + album releases from Calder Valley upstarts The Lounge Society and cult singer-songwriter Stephen Fretwell respectively – the studio is now re-open and Speedy are back to doing what they do best: releasing one-off 7”/digital singles.

The latest band to be welcomed into label boss Dan Carey’s Streatham HQ is the 5-piece London based alt-pop band moa moa comprised of James Ratcliffe (guitars, keys, vox), Connor James (keys, guitar), Sophie Parkes (sax, vocals), Dan Byrne (bass) and Matt Taylor (drums).

Having sent the label a collection of demos during lockdown – of mainly finished songs – the one which caught Carey’s ear was actually a 20-second snippet of just an idea really – which the band had included in what they had sent over. ‘I know it sounds mad’ says the producer – ‘but I just knew there was something in it.’ Meaning in true Speedy style the band and producer alongside engineer Alexis Smith had to build the song around the single motif from scratch on the day – having previously never met before, in what turned out to be a mammoth 13-hour recording session.

‘It was scary and exciting in equal measures going into it’ says the band, ‘but Dan and Lex create such a safe, encouraging creative space, and from that, we somehow came out with a moa track we're all happy with.’

The resulting track ‘Coltan Candy’ is 4 + minutes of hook-laden sunshine alt-pop that layers and builds, perfectly reinforcing the band’s manifesto of marrying ‘unconventional songwriting with pop-leaning sensibilities’, channelling (amongst others) Unknown Moral Orchestra, XTC and MGMT with contemporary R & B influences into something seamless and new. And it’s catchy as hell.

‘Lyrically, the tune is darker and more direct than our other stuff’ says James (Ratcliffe), ‘even if it’s offset by everything else going on in the music. The main hook of the song is the lyric "Coltan Candy" which refers to a mineral that has been mined unethically for decades in Africa for the production of electronic circuits in the West. I’m making some pretty OTT comments about corruption, technology, and the failures of institutions in the West, but also asking some questions about our own involvement and inability to do anything about it.’
Regardless of the seriousness of the content the band just feel relieved to have finished the track. ‘Even up to the night before the session we had 20 seconds of music that we were jamming into what sounded like an awful country track…so, it’s fair to say that the whole process really helped us to focus and make decisions!’
Coltan Candy. The sweet sound of the summer.