quête:the others

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

Merging the simple with the complex. Whereabouts will be the second release from Danish guitarist/composer Rasmus Oppenhagen Krogh and compared to Krogh's critically acclaimed debut album, Distill, from 2017, this album marks new artistic directions for Krogh, both in terms of exploring the spheric versus the rhythmic dimensions, in the meeting between organic and manipulated sound sources and through its special focus on percussion. Whereabouts explores the intersection between improvisation/composition and simplicity/complexity, the relation between time and space and the sonic qualities of the musicians gathered in unity. The group consists of some of the leading voices of the contemporary Danish jazz scene, who have all worked across genres and borders, and are known for their work with internationally acclaimed bands/artists such as Girls in Airports, Jakob Bro, Paul Motian and IRAH among others. Krogh's debut album Distill was released by Centrifuga/Gateway in 2017 to positive reviews. The album was selected as album of the week by Danish Radio P8 Jazz and was highlighted as one of the ten best Danish jazz releases that year by the acclaimed Danish jazz blog Jazznyt. Besides his work as a composer and as a bandleader, Krogh has worked, as a guitarist, with artists such as Takykardia, Kentaur, Guldimund, Schultz and Forever, Jesper Zeuthen and many more.

CITY OF CATERPILLAR return with their first new album in 20 years, Mystic Sisters! When guitarist/vocalist Brandon Evans, guitarist Jeff Kane, drummer Ryan Parrish and bassist/vocalist Kevin Longendyke unveiled their self-titled debut in 2002, their emotional, frenzied and often cinematic music was at the vanguard of the burgeoning screamo movement. Along with bands like Pg.99 (with whom they shared members), Majority Rule, Planes Mistaken For Stars and others, they helped develop a style of music that took hardcore into convulsive new territory. After years spent living in other parts of the country and playing in other bands—including Darkest Hour, Malady and Ghastly City Sleep, the long awaited CITY OF CATERPILLAR reunion shows snowballed into writing sessions. The result - Mystic Sisters, an album that recaptures the magic of old while taking the band’s music into exciting new territory! The winding and atmospheric title track that embodies CITY OF CATERPILLAR's experimental side features some noise violin from Evans’ former Pg. 99 bandmate Johnny Ward, while tracks like "Decider" and "Paranormaladies" showcases the band's roots with a flurry of viceral, noisey hardcore swagger. Tracked primarily at Montrose Recording in Richmond, Mystic Sisters was self-produced by the band and then mixed and mastered by Jack Shirley (Deafheaven, Bosse-de-Nage). Ultimately, CITY OF CATERPILLAR are more concerned with creating a mood than telling a story. “The band is always focused on mood,” Evans confirms. “To me, that’s the most important thing. I don’t really want people dissecting what we’re trying to say, because it’s not really about us. It never has been. What we cared about 20 years ago was innocent, raw emotion, and that’s what we care about now.”

Our earliest exposures to music can often be the most formative
For Toronto- based songwriter and multi- instrumentalist Eliza Niemi, that
influence came from her Dad who taught her the basics of bass and guitar at
home. These childhood experiences of playing music together by ear fostered the
sense of playfulness that she's approached her craft with ever since. They also
instilled an ethic in her creative work that prioritizes making music with friends
and loved ones.Those honed guitar — and later piano, cello and vocal — skills
make Eliza an ideal collaborator: starting in Halifax's rich music scene with the
mid-2010s experimental pop groups New Love Underground and Mauno, and
later in her role supporting artists Le Ren, Quaker Parents and Evan J. Cartwright.
Through the rhythms of touring and the brilliant spark that's shared in musical
exchange, Eliza found and developed connections across Canada's DIY music
communities. These collaborative moments fuel her creative practice, whether
playing solo, in an ensemble or releasing others' music as the founder of her own
label, Vain Mina Records.Connection and collaboration lives in the intimacy of her
albums, starting with 2019's Vinegar, an understated set of songs for cello,
keyboard and voice that wander with a comforting grace. 2020's Glass furthered
Eliza's reputation for writing songs that are boundless and experimental without
ever being alienating. There's an open, inviting quality throughout the record,
apparent from the close-miked instruments, to her softly sung and affable lyrics
that unfold like a conversation with a good friend.Her latest album, Staying
Mellow Blows, furthers these ideas and aesthetics to a staggering degree,
retaining the candor, humor and emotional humility she's known for, while letting
the vast number of supporting musicians shape each song with their own
emotionally resonant performances. The result feels whimsical and inspired, and
is the sound of an artist flourishing
180g 12" Deluxe Lavender Vinyl

Some are looking for gold or oil and others are passionately looking for forgotten music treasures! Those who can be described as "sound gold diggers" criss cross record shops or confidential places to unearth musical nuggets previously kept in the dark. This practice began with sampling in the 80s and has now become a way of safeguarding the world's musical heritage. With our new "Diggin' Collection", we invite you to discover soul, funk or disco gems from the 70s and the 80s available on three nice vinyls for your pleasure.

Some are looking for gold or oil and others are passionately looking for forgotten music treasures! Those who can be described as "sound gold diggers" criss cross record shops or confidential places to unearth musical nuggets previously kept in the dark. This practice began with sampling in the 80s and has now become a way of safeguarding the world's musical heritage. With our new "Diggin' Collection", we invite you to discover soul, funk or disco gems from the 70s and the 80s available on three nice vinyls for your pleasure.

Triple LP featuring Live and studio tracks from between 1975 and 1993, and a runtime over 135 minutes.

Featuring appearances by:
Dave Gilmour, Andy Sheppard
Danny Thompson, Paul Kossoff,
Phil Collins amongst many others

Sniffany & The Nits are a deranged, genuinely troubling punk band
from London featuring members of Joanna Gruesome, Ex-Void and
The Tubs. Their debut album, ‘The Unscratchable Itch’, is released
via PRAH Recordings.
Drawing a through line between the British post-punk of The Fall and
the new wave of insolent hardcore typified by bands like Lumpy &
The Dumpers, The Nits have developed a knack for writing unhinged
punk earworms.
But it’s Sister Sniffany, and her singular lyrical and performance style,
who elevates the band beyond the sum of their influences. Her lyrics
inhabit the same world as her “macabre, visceral” (It’s Nice That)
cartoons - a world of hidden humiliations, girl abjection, crumpled
lager cans, clam chowder and lumpy, over-stuffed dollies.
Over the course of ‘The Unscratchable Itch’, Sniffany ventriloquises a
cast of pathetic, unbalanced characters: A secretarial administer tails
her Casanova husband to a suburban swingers party: “I can smell
him from here: a mix of Vaseline, foot cream and Stella beer.” A poor
old grandmother’s glasses fog up as she chastises her
granddaughter: “You self-entitled selfish little twat! / Left me to die in a
popcorn-walled flat! / Spotty little smelly little prick! / Making your poor
grandmother sick!”
But these characters aren’t detached, impersonal creations. As
Sniffany explains: “In Sniffany & The Nits I like to exorcise and exhibit
the deeply shameful parts of myself that I see as the toxic aspects of
my own femininity.” These are confessional songs about love
addiction, jealousy, possession, self-loathing and “egg smashingfury.” Though occasionally they are literally just about Sex & The City,
red-pilled incels or grandmothers.
O Williams (drums), Max ‘Wozza’ Warren (bass) and Matt Green
(guitar) have been entrenched in the UK DIY scene for years, having
played in the aforementio ned bands, as well as countless others.
Warren also runs the influential left-field label Gob Nation - a home
for ‘egg punks’ across the country. As such, the band veer between
atonal no-wave guitar assault, straight-up hardcore, goth/anarcho or
whatever takes their fancy, while remaining identifiably Nit-like.
Always grounded by a pounding, pogo-ing rhythm section, The Nits
provide the perfect backdrop for Sister Sniffany’s wild, relentless live
performances. See them live at 2022’s End of the Road Festival.
Cream vinyl LP.

Two insanely funky dancefloor bangers recorded in the late '60s in Peru by the long time Coco Lagos associate and top percussionist Mario Allison. Astonishingly hard-to-find boogaloo and descarga tunes from the vaults of MAG records. First time reissue on 7" vinyl. Peruvian artist Mario Allison was born into a family of musicians. One of his brothers was part of groups like Los Golden Boys, others were percussionists and singers. His North American ancestry familiarized him with the use of English from an early age. He met Coco Lagos through a mutual friend, César González, and the three of them soon became regulars at the recording sessions taking place at MAG studios. The connection between them was formidable to the point of coordinating without the need for prior rehearsals. Mario Allison was a self-taught timbalero and his performances are said to have been full of energy and passion. At concerts it was not uncommon for female audiences to react by screaming and freaking out every time Allison performed a solo. After years working at MAG's studio as session player, in the late '60s he was offered the opportunity of recording his own stuff under his name. Mario Allison then worked on a repertoire focused on boogaloo, descarga and, mainly, pompo. This single comprises two insanely funky dancefloor bangers recorded in that period; hard-to-find boogaloo and descarga tunes from the vaults of MAG records. First time reissue on 7" vinyl.

Imaginational Anthem Vol. XI : Chrome Universal - A Survey of Modern Pedal Steel

Curated by in-demand Nashville pedal steel maverick and Third Man recording artist Luke Schneider, the eleventh volume of Tompkins Square’s venerable Imaginational Anthem acoustic guitar series features exclusive tracks by legend BJ Cole, as well as leading exponents on the instrument including Susan Alcorn, Luke himself, and British expat /Nashville hotshot Spencer Cullum among others. Nashville native and Merge recording artist William Tyler has written a beautiful detailed history of the pedal steel for the package (CD & LP versions only). 1. BJ Cole - Ely Revisited 2. Jonny Lam - Rainbow Across the Valley 3. Rocco DeLuca - Many Singing Softly 4. Luke Schneider - Yosemite 5.Spencer Cullum - An Ode to Dungeness 6. Barry Walker, Jr. - I Will Tread Upon the Lion and the Cobra 7. Susan Alcorn - Gilmore Blue 8. Maggie Bjorklund - Lysglimt 9. Will Van Horn - Attwater

Monica : The tracks on Stop That Girl were recorded live in an old mill and
featured musicians who had played on recordings on the Postcard label
and in groups from that era - Aztec Camera, The Blue Nile, Bourgie
Bourgie, Jazzateers, Love & Money, Paul Quinn & The Independent Group,
among others - The album is a mix of original material and some covers
(Orange Juice, Captain Beefheart, Gene Clark, The Velvet Underground)
Monica Queen came to prominence in Thrum, recording tracks with Edwyn
Collins and releasing an album on the Fire label. She has released albums under
her own name on Creeping Bent and as part of Tenement & Temple as self
releases. Monica is perhaps best known for singing on the Belle & Sebastian
single Lazy Line Painter Jane and has performed live with The Jayhawks, The
Pogues, and James Grant.

What do notions of freedom and movement mean to us as we experience unprecedented restrictions on travel, culture and socialisation? Henry Keen’s Freedom In Movement offers a soundtrack to both remember and look forward to freedom through music, movement and community.

The memory and feeling of the Plastic People dancefloor were often in Henry Keen's thoughts as he produced the tracks on this new LP. Inspired by the London club nights he frequented – Balance, CDR, and CoOp – Freedom in Movement is Henry’s first vinyl self-release, an embodiment of self-expression that compliments his contributions to projects Electric Jalaba and Soundspecies.

The soulful tracks on the album pick up where Henry Keen’s 70's Baby (Maddjazz Recordings, 2017) record and EPs as The Room Below on the Don't Be Afraid label left off, bringing a range of tempos to get heads nodding while hips and feet work out. Lovingly made, the collection of songs offer meditations on questions evoked by the record's title and respite from the heaviness of challenging times.

The lead single from the album is Dexter’s Breakfast, featuring London-based woodwind expert, and previous collaborator Ben Hadwen on baritone/tenor saxophone, and flute.

Dexter’s Breakfast was released digitally on 25th June 2021 and gained support from the likes of Adam Rock (Jazz Re:freshed), Kev Beadle (Mind Fluid), Simon Harrsion (Basic Soul), Psycut (Music Is My Sanctuary) and Laani and Papaoul (Worldwide FM) amongst others

Purple Vinyl

Concentric Records present this special edition EP by the Berlin-based duo YHDESSA - composed of Dutch-Italian composer and poly- instrumentalist Grand River and Sardinian electronic music experimentalist Enrica Falqui.

Entitled Along The Simple Line, the 5-track EP is a unique sonic journey that merges in pure form the distinct worlds of the two composers, exposing a warm and delicate essence. Perfectly punctuated, and in a pace of its own, the album gently and precisely unfolds through touching musical spaces, dramatic textures, entrancing rhythms and unexpected vocal lines, revealing a wonderful depth. The result is so perfectly uniting as if woven by the same two hands.

Yhdessa is a collaborative project made up of Grand River and Enrica Falqui which was conceptualised in 2017 while the duo shared a music studio and were living as a couple in Berlin. Their first piece, released in 2018 on the label One Instrument Records, was named after the Vermona E-Piano and is composed entirely using the analogue synthesizer that was built in 1978. Following this came their lingering soundscape Waldorf Micro Q featured on the record “One Instrument Volume 01” as well as an impelling remix of Dunes by Jiska Huizing and Rudi Valdersnes.

Aimée Portioli is a Berlin-based Dutch-Italian composer and sound designer who records and performs as Grand River. The name Grand River evokes nature, scale, and movement, all key forces in Portioli’s work. Her first release as Grand River was the resolute 2017 Crescente EP, which includes Flies, a composition named by XLR8R as one of the best tracks of that year. She followed this with her melodious debut album Pineapple (Spazio Disponibile, 2018), which garnered praise from The Quietus, amongst others. The moving and dynamic subsequent album, Blink A Few Times To Clear Your Eyes (Editions Mego, 2020) was lauded by Resident Advisor and The Verge, and was elected among the best albums of 2020 by Inverted Audio. Separately, Grand River’s work has appeared on compilations by Ghostly International, Tresor, Longform Editions and has composed an official remix for Tangerine Dream.

Enrica Falqui is a Sardinian music producer and DJ currently based in Berlin. With artistic versatility as one of her defining traits: she comfortably traverses between the dimensions of electronic music. For over a decade she has dedicated herself to the study of sound and the relentless excavation of lesser-known music, which has earned her bookings all over the world and commissions for her productions from some of the most respected labels including Marignal Returns which released Plexus, a mini-album of cool, divergent compositions. Enrica is also part of the coveted duo, ERIS, whose debut and sophomore EPs, Moments and Champions League, found their home on the illustrious Cabaret Recordings. The releases entwine the forceful with the ethereal and create an original, future-facing and club-orientated sound. Moloko, a drum-focussed track laced with weaving synths, was considered by Resident Advisor as one of the best tracks of 2019.

Aimée and Enrica’s musical union through Yhdessa, is one of colour and warmth. It expresses an experimental electro-ambient side of the two composers, to form a style that is meditative, other-worldly and at times introspective. Although, the two are now, no longer romantically engaged, they maintain a passionate friendship to match this profound musical partnership.

In the music business, there are certain sidemen — players who back the stars — who play with such prowess that they gain fame of their own. By all rights, Herman Hitson should be one of those people. Over the years, he played with Jimi Hendrix, James Brown, Joe Tex, Bobby Womack, Wilson Pickett, Garnet Mimms, Major Lance, Jackie Wilson, the Drifters, the Shirelles, Hank Ballard & the Midnighters and many others. “I played behind Jackie Wilson and Sam Cooke on the same doggone show,” he said, recalling one night at the Royal Peacock. Along the way, he picked up every style of music that was popular in the early years of his career. Arguably, the original seeds of psychedelic rock were planted after Hitson and Hendrix became running buddies in the early 1960s. Both were playing the Chitlin’ Circuit, tours that would load somewhere between ten and two dozen African American musicians on a bus and tour the South, playing Black nightclubs. The two spent weeks together, Herman says. As the 1970s rolled in, Herman wound up playing funk guitar, recording some tracks with the Ohio Players and releasing some of his own funk singles, including the powerful “Ain’t No Other Way,” a number firmly in the James Brown vein which he reprised on ‘Let The Gods Sing.’ In the mid-1960s, he moved to New York City, where he once again hooked up with Hendrix. Early in 1966, Herman began work on his own psychedelic rock album under the title “Free Spirit.” Hermon sang and played lead guitar, and Hendrix played bass on a few tracks that went unreleased by ATCO at the time. Those recordings wound up being the source of a controversy in the 1980s that brought Hermon’s name into the limelight in a different way. The title song of the album, “Free Spirit,” was released on two albums of music allegedly recorded by Hendrix and then “lost” to history. “That’s my song,” Herman says today. "He Hendrix didn’t never play no lead on nothing of mine. And he didn’t sing on nothing of mine. In fact, back then he thought he couldn’t sing. We had to keep pushing him". Jimi would say, ‘I can’t sing.’ I’d say, ‘Man, you don’t have to be Wilson Pickett. All you got to do is sing like you sing.” Recorded and co-produced by Bruce Watson at his Delta Sounds Studio in Memphis, Hitson’s backed on the new album by guitarist and co-producer Will Sexton and some of Memphis’ best musicians.

Melancholia is a made-up medical condition manifested in an incessant moment of reflection. The newest album is a soundtrack to different stages of it and the accompanying feelings. The extremes of those got illustrated by Wojtek Łebski who designed the graphic identity of the album.

"I wrote this music during the last 3 years which for me and to many others were the most bizarre time on the planet we live. Lots of dilemmas, problems, ups and downs, self-doubt and permanent anxiety I transformed into different frequencies of sound. From the very first song, you can hear my fascination with the bass and half-step music scene. Thanks to Mr Envee who mixed the album, it sounds exactly how I imagined - deep and worm. Welcome to the journey." - says the author.

Teielte is a very important person to U Know Me Records - his debut album was the first one in the history of the label. To honour the album properly, the "Melancholizm" was labelled with the number UKM 100 and it will be released exactly 12 years after the famous debut of Taielte's album "Homeworkz".

The album will be released in two versions - classic black LP and limited colour LP. What's special about the limited edition is that every copy is different and is numbered by hand (100 copies). Also, both versions have different covers designed by Wojtek Łebski

Now available on vinyl, Heartmind is Cass McCombs' biggest album in
years, garnering the best reviews of his career to date
UNCUT ALBUM OF THE MONTH - "One of the most impressive bodies of work of
the century so far."
MOJO ALBUM OF THE MONTH - "On a mission to find out where the heart and
mind intersect.....there is real emotional impact here."
Songs like "Karaoke" are a god-level burst of powerpop perfection, as fetching as
anything Cass has ever cut: Cass triangulates a perch of his very own out among
The Go-Betweens, The dB's, and The Cure,and vibrates there, a beacon. And then,
of course, there is the song's playful if painful lyrical conceit — the lover who is
making all the sacred motions of commitment but whose feelings may be no
more deep or real than someone simply reading the lyrics for "Vision of Love" or
"Stand by Your Man" from some crowded bar's TV screen.
Cass recorded these songs in multiple sessions on both coasts, in Brooklyn and
Burbank. The great Shahzad Ismaily not only cut the staggering "Unproud
Warrior" and four others here but also played lots of bass. Buddy Ross tracked
"New Earth," a paean of post- humanity renewal with several sharp wisecracks.
Ariel Rechtshaid — now a dozen years into his collaboration with Cass, which
began with 2009's Catacombs—captured Cass' scintillating guitars on "Belong to
Heaven," a thoughtful consideration of what we all lose when we lose an old
friend to the inevitable end. The steadfast Rob Schnapf (who previously produced
McCombs' ANTI- debut, Mangy Love) mixed and merged it all. Wynonna Judd
(yes, that one) offers harmonies, while her beau Cactus Moser provides some lap
steel. Joe Russo, Kassa Overall, Danielle Haim, Nestor Gomez are featured on the
album, too.

Tape
"Samples, movies and beats. That's the essence of Dead End's brand new LP titled Kino Vol.1. The Portuguese producer takes the chair and delivers a masterful performance that combines music and cinema. Kino Vol.1 is a multidisciplinary album built around samples picked from some of his most loved blockbusters and inspired by iconic movie clips. For the occasion, Saturate's Instagram profile has turned into a video gallery, featuring footage from cult movies and series such as The Office, Sicario, A Fistful Of Dollars, perfectly synched with Dead End's productions.
The album experience itself resembles that of a mini-series like Netflix's Love Death Robot or Oat Studios, where every episode is a story on its own, written and shot in a different way. The fourteen tracks, or episodes as I like to call them, range from heavy club to hip hop and halftime. Some are more colorful and atmospheric like the ending tripled composed by 'Cocoon,' 'Voyage' (feat Dj Ride) and 'Flowers Bloom'. These cuts seem to come off reflective and introspective movies. Others are way heavier, as they were made straight for fighting and chase scenes. In this group, you can count 'Melee Attack,' 'Though Break,' 'Stealth', 'Thin Ice'. My favorite instead are those which set up an ambiguous and sinister mood. 'Bullit Drift,' 'The Fog,' 'Shindeiru,' 'The Road,' all these episodes could fit very well in both mental thrillers (a la Nolan) and unconventional psycho/horror movies. They build a palpable tension that successfully keeps me on my toes as I expect a jump scare or a sudden plot twist to come in at every second given.
In conclusion, Dead Ends' Kino Vol.1 has the virtue of creating a listening experience that, thanks to its references to the world of cinema, becomes interactive and involves the listener in first person. It's impossible not to try to figure out from which films the samples are taken or to try to imagine which scene would be perfect for a specific track."

How many forms can a drum break take across the course of one EP? Needing little introduction are TIN mainstays Frankel & Harper who, with the help of Bakey, help us get to an answer. Buffalo Skank EP is a celebration of breakbeat. Whilst proving the duo's prowess in rhythmic variety, there is an emphasis on fun as they form complex drum patterns only for them to be chopped and screwed into myriad formations. At times, an Amen break is accompanied by blissed-out atmospherics borrowed from old school dnb ("Buffalo Skank"). At others, an unapologetic rhythm drives forward as if crushing anything in its way ("Oblivion"). On "Taz &" ricocheting snares evoke the music of junglist Sully before Bakey strips them entirely in favour
of a more minimal sound.

Past Inside The Present co-founder Isaac Helsen - a multi-disciplinary artist from Michigan, creating photography and paintings as well as music - in action on this double cassette alone after a string of collaborations with labelmate 36 and fellow label co-founder zake. Helsen's sound works on a grand (electronically) orchestral scale at times, the proverbial cathedrals of sound coming to mind, at others (see 'Duniskwalgunyi') understated and intimate. On first listen, it's the simpler moments like 'Whisper At A Party' that grab you, but the 17 track selection slowly reveals itself to be quite special on repeated rotations.