Suche:traveller

The wheels rattle into the thrilling unknown on The Coral’s first new music since 2018, finding the unsurpassed, metamorphic gonzo-pop five-piece in the company of crooks, sell-by-date candyfloss and plastic skeletons as they release Faceless Angel. Of misplaced memories from a place and time that might never have been, the track precedes a new and vividly evocative body of work from the legendary Merseyside band in the form of their TENTH and first, ever double-album: Coral Island.

Squinting into the neon-lit penny arcades and draining an after hours glass with the displaced and dispossessed once the power is pulled, The Coral’s latest caper concerns listeners with the light, shade, thrills and profound melancholy of coastal palaces packed with fun and fright. Both now and then, or perhaps never as fiction encroaches on reality, the feverous anticipation of a night amongst the screams, fights and romance of the fair become part of life on the newly-built Coral Island.

Welcoming travellers one trepidous step at a time, Faceless Angel sits amongst a series of promised audio visual portraits of and inspired by the Island’s inhabitants. Conceived and created by artist, Edwin Burdis, the single’s video was filmed ‘on’ Coral Island itself, a sprawling diorama purpose-built inside a deserted Chinese restaurant in Cardiff. It’s the band and fans’ first venture onto the surreal land mass, populated by surreal sculptural forms, charity shop-finds, looming mountains and gathering storm clouds. Filmed in debt to the traditional model-based filmmaking methods of greats like George Lucas or Ray Harryhausen, Burdis navigated Coral Island at waist-height and via camera-friendly pathways to gather 360 degree footage from inside and outside his and The Coral’s fascinating, fabricated world. The expansive and ambitious installation also provides the album artwork for Coral Island as well as designs for Faceless Angel and future singles.

Indebted in part to the classic pre-Beatles rock and roll era of Duane Eddy and Chuck Berry alongside the clattering of a weary ghost train’s rusted wheels on worn steel, Faceless Angel’s title evokes DC Comics ominous occult detective series, Hellblazer and the broken character of the strip’s protagonist, John Constantine.

Pressing Info: 180g black vinyl, standard sleeve, printed inner sleeve. Arriving right off the back of their second album 'El Refugio' which was released in November 2021 via Fuzz Club Records, Mexican post-punk/krautrock group Sei Still are back with a 'Fuzz Club Session' LP that's due out January 21st 2022. Having upped sticks from Mexico City to Berlin, Sei Still's Fuzz Club Session was recorded live at Berlin's Monoton Studio back in October 2020 and is comprised of five tracks from the newly-released 'El Refugio' LP: 'Esperando' (later titled 'Saldados Caidos' on 'El Refugio'), 'Hombre Animal', 'Las Puertas De La Noche', 'Me Persigue' and 'Se Asoma el Sol' (later 'Solsticio'). 'El Refugio' and the session LP set to be released in support capture a new era for Sei Still. The expansive Krautrock jams heard on their 2020 self-titled debut have evolved into a dark, motorik post-punk sound that owes far more to 70s punk, goth-rock and Spanish New Wave than any kosmische travellers. The session is released on 180g black or white vinyl with a printed inner sleeve and is accompanied by a series of videos recorded during the session.

The acclaimed Kito Jempere joins Cherrystones and DJN4 on the label for 2020, with an album full of international minds. Working with array of collaborators across a cast of friends including Jimi Tenor, Wolfram, Hard Ton, Lipelis, Rich Thair (Red Snapper), Ruf Dug, Cedric Gasaida (Azari & III) and many more, presenting this, his third long play.

A hail of freedom of thoughts and voices before these changed times, recorded and shared across continents. Kito - following releases with DFA, Lo Recordings, Bordello A Parigi, Hell Yeah and Duca Bianco - acts as curator rather than conductor, the idea not to transform the contributions but allow them absolute.

Sending music and receiving back, nothing was touched to keep the truth and honour. From Tokyo to London, Berlin to his base in St Petersburg, trusting the chosen artists led to a broad palette, as his 4/4 driven funk expands with Jazz horns to Motorik percussion, Avant-Reich vocals to White Isle melodies, J Pop Balearics to Chanson stories wrapped around Club memories.

A true world meeting, crossing borders and genres. An eye on the dance floor and week long chill outs. With remixes from the likes of Samo DJ, Lipelis, Cable Toy and more to follow, this is more than Yet Another Kito Jempere Album.

Cardinal Fuzz / Acid Test are proud to present to you the debut LP from Black Holes Are Cannibals – ‘Surfacer’.

Formed around the uber talent of Chris Jude Watson (founder of ‘Snakes Don’t Belong In Alaska’) who in BHAC found a band to take his vision to the outer most limits. BHAC are a collective with a varying line and each time they record all the music is improvised as they let their collective and innate abilities guide them, but what does bind them are the touchstones of Drone and Minimalism that runs through the music they create or just plain HEAVY. Call them Drone Metal or Psychedelic it matters not as the music created is an immersive, all consuming and thought-provoking transcendental listening experience that awaits those brave enough to take the ride with BHAC.

‘Surfacer’ was recorded at First Avenue Studios in Newcastle by the band using a TASCAM DR40 and is the embodiment of pent-up emotions gathered and endured during lockdown as they zap out every ounce of feeling and anguish into this recording.

‘Surfacer’ is not an album for the faint of heart with 2 long tracks of transcendence that will challenge and push you to lose yourself in the sonic experience of the timbre / vibrations of droning instruments and throat vocalisations as BHAC weave together mesmerizing waves of sonic texture.

‘Surfacer’ draws influence from bands like Neptunian Maximalism, Qujaku, Neurosis and the visual work of Andrei Tarkovsky, Kenneth Anger and Larisa Shepitko which influence the energy and darker sounds of the music while still taking influence from more traditional psychedelic sounds and experimental places like Taj Mahal Travellers, Suzuki Junzo, Pauline Oliveros, Vahvistusharha, and Tōru Takemitsu aurally and visual energies from occult works like Jodorowsky's 'Holy Mountain', Helena Blavatsky and Hilma Af Klint's Alterpieces 1-3.

As Terence McKenna might have said – BHAC are best experienced when listened to in complete solitude in a dark room while you are doing nothing else. To experience this album to the fullest, you must not have any distractions. Just sit down, relax, plug in, and let this album take you up into outer space.

‘Surfacer’ is pressed on Heavy Black Vinyl and presented in a 350gsm Outer Sleeve with artwork that perfectly matches the music drawn by James Watts (Inspiration coming to James from an article on beaked whales being "more surfacer than diver" before we had that jam and thats what inspired his drawing of an abstract beaked whale skull for the cover).

Get yo ass in the house, robot-- you cyber-spectre, you outhouse prime minister, you hard-headed mirror ninja, snapping selfies, living in the pixelated seams between bursts the of flashing images, birthed in a pool of TV static and Tik Tok dust. BLACK ENCYCLOPEDIA OF THE AIR is here, not to save but to drown you. Heads better learn how to swim cause listen, this record is beat soup, hearty yet still minimal, a sonic mirage of prophetic soul that drop kicks your "chill beats to study to" Youtube playlist and hyper-intellectual rap podcasts into a hadron collider; it's only black matter on the other side-- 13 mesmerizing tracks about memory and imprinting and the future, all of them wafting through untouched space like the ghostly cinders of a world on fire, unbound and uncharted, vast and stretching across the universe. Moor Mother is a holographic figment of an Afrotopian dream, all at once goddess and warrior, mystic and cyborg, griot and future time traveller, etching noisy pieces of reverie into our consciousness for decades now. But check it: on BLACK ENCYCLOPEDIA she's joined by a wide-range of friends, collaborators and co-conspirators on a trip through the murky cosmos, navigating the black universe with stardust as currency. In these times, they'll say, as they click and mash their way through the same inter-webs that seek to strangle them, BLACK ENCYCLOPEDIA OF THE AIR is just what we need: a post-everything, 12:01 on the doomsday clock, anti-trip hop type of situation. "We ain't gotta fight no more," they'll say; the rest of us, we'll put this record on and imagine again that it's real.

Ferocious Dog have been putting lockdown to good use by writing and recording their fifth studio album 'The Hope'. Instantly recognisable as a fusion of folk, punk and ska - but with newer members Ryan and Johnny really putting their stamp on evolving their sound further - the former adding much more bite to the electric guitar, with the latter juxtaposing this aggression with softer folky sounds.

The ever-present traditional cover is here, right on-trend with a sea shanty vibe, the rest of the album flows irresistibly through tales of historical observations to biting commentary on the plights facing the world today. The songs follow a rollercoaster of pace and sentiment which will have you wanting to mosh one moment before having a moment to contemplate, coupled with a surprise collaboration and an overdue catch-up with how Mairi is getting on.

A great follow-up to Fake News and Propaganda - Ferocious Dog seem to have the knack of evolving their sound enough to pique your interest, without losing any of the sound or attitude that made you fall in love with them in the first place. Once they’re allowed out to play again they’ve given themselves a real headache in trying to pick a set list from their now burgeoning back catalogue.

Ferocious Dog have been putting lockdown to good use by writing and recording their fifth studio album 'The Hope'. Instantly recognisable as a fusion of folk, punk and ska - but with newer members Ryan and Johnny really putting their stamp on evolving their sound further - the former adding much more bite to the electric guitar, with the latter juxtaposing this aggression with softer folky sounds.

The ever-present traditional cover is here, right on-trend with a sea shanty vibe, the rest of the album flows irresistibly through tales of historical observations to biting commentary on the plights facing the world today. The songs follow a rollercoaster of pace and sentiment which will have you wanting to mosh one moment before having a moment to contemplate, coupled with a surprise collaboration and an overdue catch-up with how Mairi is getting on.

A great follow-up to Fake News and Propaganda - Ferocious Dog seem to have the knack of evolving their sound enough to pique your interest, without losing any of the sound or attitude that made you fall in love with them in the first place. Once they’re allowed out to play again they’ve given themselves a real headache in trying to pick a set list from their now burgeoning back catalogue.

Between electro, hypnotizing break, minimal at the same time sophisticated and retro, this disc is aimed at amateurs of electro "retrogaming". It would be part of a series of various, "The Arcade Travelers", built around a story: the adventures of a gang of geek being absorbed by their Megadrive following a bug.

Cardinal Fuzz and Feeding Tube Records are at long last ecstatic to bring to you for your listening pleasure “Nudity - Is God’s Creation” 2xLP . A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem . Reissued and for the first time available domestically in the USA

In 2004, a commune named NUDITY, formed by four travellers from the astral plane, appeared in Olympia, Washington. The founding members were Dave HARVEY (guitar) and Jon Quitty QUITTNER (bass - though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From Way Back When and Eryn ROSS (drums) from Growling, A couple of self-distributed Cdrs and a 12” on Discourage were a visual akin to coloured liquid sloshing around on a transparency machine and were a pure drip feed for psych /kraut and Jap Rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full length LP arrived from the original line up - something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the 4 sides of vinyl presented here go From Detroit fuzz blazing face melters to acid trippin' head swirling raga’s via The Flower Travelin’ Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released - Don't make the same mistake a second time.

Terrascope gushed about Nudity - "This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years"

‘The record is inspired by the idea of humanity’s ever-increasing entanglement with technology and artificial intelligence, balancing fears and moral concerns with the possibilities of evolution’s next phase’

A new Soccer96 album is a chance for Danalogue (Dan Leavers) and Betamax (Maxwell Hallett) to return to something of a spiritual creative home. Between them, the keyboardist and drummer have become synonymous with the thriving London jazz scene and, in their mind-bending incarnation as the astral synths-and-drums pairing, they’ve traversed stylistic worlds. Over nearly a decade, the duo have metamorphosed from a DIY outfit whose rough-edged recordings hit with a punk spirit, to cosmic dreamers that use sound to travel the reaches of the mind.

First single Dopamine features Nuha Ruby Ra on vocals who sings from the perspective of human and machine throughout the track. This concept overlaps with the music seamlessly, forming a meeting point between technological and human exploration.

Dialogues between the band and Nuha crystallised a shared vision of a future where humans and artificial intelligence are entangled in a codependent relationship based on the giving and receiving of pleasure hormones, the robots only source of dopamine is to receive it from humans, and the humans’ ability to unleash the monsters of the worst of human emotion.

Danalogue and Nuha sing together ‘It’s a Long Way down’ .. the feeling of jumping from the cliff of our current state as humans and ‘free-falling’ into the unknown of robot-human intertwining. By the outro they are pleading with each other over their dopamine co-dependency, in terms of both giving and receiving the hit. "Dependency leads to free-falling integration, a moment of freefall into robotic consciousness. Humans and machines are locked in a dance of addiction." explains Betamax.

Soccer96 has always been a vessel for Danalogue and Betamax to find clear water from their multitude of other collaborations, their most notable being as two-thirds of The Comet Is Coming alongside Shabaka Hutchings. Danalogue’s other recent production credits include Snapped Ankles and Calabashed, whilst Betamax has been making music with Champagne Dub and Coma World.

“Through collaborating with various artists and developing our own sonic language, it feels like we have created a sound of our own,” says Danalogue. “Now we think less literally and take more liberties to not necessarily sound like a duo. It’s more like a production team that can be augmented or stripped back depending on what the music calls for.”

Dopamine, though, sees the pair back together once again, incubating their findings of the past two years and moving Soccer96 into new territories. The record is maybe darker in some senses than what they’ve put out before; it’s inspired by the idea of transhumanism and humanity’s ever-increasing entanglement with technology and artificial intelligence It balances fears and moral concerns with the possibilities of evolution’s next phase. “The LP title Dopamine refers to the type of neurotransmitter associated with pleasure, that enables technology to hack into our minds and control us, creating addiction, dependency,” Betamax explains.

Dopamine began life as a sonic reaction to the graphic novels of ‘Moebius’ Jean Giraud. The duo then started swapping reel-to-reel tape ideas through each other’s letterboxes in lockdown, before eventually convening in the studio and displaying one of the revered French artist’s images in the middle of the studio for inspiration.

“All musical decisions would centre around this image,” Betamax says. “It was a depiction of a cosmic traveller gazing across a desert at a sort of crystal city. If the music was resonating with the image then we knew we were on the right path. We are both glad there is a lot of emotional warmth underpinning the whole thing. We are trying to connect with the human essence at all times.”

River Lea (a division of Rough Trade) releases Fire Draw Near - an album of
Irish traditional songs and music from the archives, compiled by Ian Lynch
of Dublin band Lankum.
“This LP is a collection of 13 rare, strange and wonderful gems from the Irish
tradition. Recorded in various parts of the country over a period of over 60
years between 1947 and 2013.
They show us a strong, multi-faceted and vibrant musical tradition in the country; one that still exists in the present day. The settings are varied - bars, living rooms, campsites, recording studios - as are the backgrounds of those who
perform.
The music of the Travellers, who tended to the flame of tradition while the rest
of society began to lose interest is well-represented, as are styles ranging from
sean-n s singing in Connemara, Donegal fiddle-playing, uilleann piping from
Dublin and English language singing of ballads both bawdy and beautiful from
across Ireland.” - Ian Lynch.
Fire Draw Near - An Anthology of Traditional Irish Song and Music is the fifth
album to be released by River Lea, following records by Lisa O’Neill, Br ghde
Chaimbeul, Ye Vagabonds and John Francis Flynn.
Fire Draw Near is also a monthly podcast and radio show, hosted by Ian Lynch
which investigates Irish traditional music in all its myriad forms.

Aukai is a Hawaiian word meaning ‘seafarer’ or ‘traveller’. It’s also used as a proper name, and people who are called Aukai tend to have a mystical, philosophical, introspective nature. All of which makes Aukai the perfect name for the new album and project by multi-instrumentalist and composer Markus Sieber.
It’s a collection of ambient acoustic soundscapes that take the listener on an inward journey to a place of peaceful stillness and tranquil beauty. “This album has a lot to do with memories from travel,” says Sieber, “but also memories from childhood and nature. How did the river smell in summer? I wanted to create a sonic space where music guides the listener into some imaginative inner world.”

The new album "Spectrum" by the vision string quartet presents 13 songs composed, arranged and produced by the four young musicians from Berlin themselves. Inspired by folk, pop, rock, funk, minimal and singer-songwriter music, Jakob Encke (violin), Daniel Stoll (violin), Sander Stuart (viola) and Leonard Disselhorst (cello) have embarked on a journey to their very own sound and genre. The result is an unprecedented musical adventure without borders, shaped by personal experiences, new and old encounters as well as subtle impressions from various cultures. They create a whole world of sounds with just their four string instruments – from guitar, ukulele and bass to bongos or a complete drum set.

Early support by: Laurent Garnier, AME, Marco Bailey, Jennifer Cardini, Terrence Fixmer, Kyle Geiger, Marcel Dettmann, Apparat, Richie Hawtin, Vril, Charlotte De Witte, Sasha, Benjamin Demage any many more..



Fresh off of a remix for Grimes’ “My Name is Dark”, producer Julien Bracht has been powering through CV19 studio seclusion on full-power, with a distinct vision for brighter days ahead. Bracht’s new album, “Now Forever One,” an emblem of dark analog synthwave, is set to drop June 11. Bracht’s first solo album under his own namesake is cut with surgical precision for the shoegazing astral sound travellers who long to break out of their pandemic quarantines, and reconvene for techno-induced ascension. The album’s first single, “Melancholia,” and it’s accompanying video, is already breaking hearts and charts. An exquisite sonic hybrid of communal revelry and profound introspection, “Now Forever One,” focuses Bracht’s multilayered craftsmanship on resolving this era’s angst with sensory exploration and optimism.



As a lifelong drummer, Bracht’s insatiable musical energy lead him to bang out his first 3 EPs within one year of first being signed in 2011-12. In 2015 he founded the band Lea Porcelain with Markus Nikolaus in London. Their hypnotic post-rock debut release in 2017, “Hymns to the Night,” gained instant acclaim from UK tastemakers Lauren Laverne, Steve Lamacq and Zane Lowe, to name a few. The lads broke back onto the international stage with dates on several major festivals around Europe, including the Leeds/Reading Festival, Great Escape Brighton and Latitude. Rich output combined with the inclusion of live drums in his solo live sets quickly gained Bracht recognition and slots on the global tour circuit.

“Now Forever One” forges Julien Bracht’s transition from techno djing, while continuing the explorations of texture and timbre over functional song structures from Lea Porcelain, to a more open-ended search for the aural sublime — the substrate on which music, life and light glide to create momentary nodes of meaning in an increasingly meaningless sociopolitical atmosphere. These are crucial themes to Bracht’s process and approach. “The intention in my music is to strengthen people’s awareness and minds… I want us all to gather in spirit and stick together.”

The album exemplifies Bracht’s hunt for elemental juxtaposition with the warm Prophet 6’s sawtooth howls and bright pads against chillingly indifferent pulsing basslines and percussion. Clocking in at just under 65 minutes, “Now Forever One’s” tracks are sequenced to take the listener through the full emotional arch of a 15-hour rave, with an emphasis on those moments of collective epiphany where heaving techno floors become the perfect microcosm for an idealistic and interconnected future. Interspersed with improvisational one-takes, the album submerges the listener in polyrhythmic meditations, of which “Streets” and “Nocturne” are standout examples, and soars on the vaulted synth melodies of future dance floor favourites “Melancholia” and “Dreams of Euphoria.” Sascha Ring of Apparat & Moderat puts it perfectly: “I played “Melancholia” the night I got it at Mutek Festival in Mexico City, and instantly knew it’ll shine on a big floor at the right time. It’s just the right balance of majestic melodic deepness.” The sounds are both triumphant and exploratory.

Greater than the sum of its parts, Bracht’s latest release hints at the artist’s emerging potential for nailing our moment’s zeitgeist; learning to live smaller while constantly seeking higher heights. Inhabiting the fertile ground between solitary rumination and dance-floor convenance, the launch of “Now Forever One’s” lunar expedition into the techno oblivion of pandemic lockdown is oddly fitting.

Eight years deep into their existence, Paris-based Mawimbi are proud to present their debut album Bubbling.
Through their own label and events, the collective have championed up and coming artists who look to fuse african music
with the modern dancefloor. They’ve released records from Lya, Onipa, Afriquoi and James Stewart and brought
established artists and fellow travellers to such as Auntie Flo, Africaine 808, Awesome Tapes From Africa and Esa to
Paris. Now it’s time for the collective to unveil their identity as producers and musicians in their own right.
“Bubbling” refers to the many ideas, encounters and projects that the collective have come into contact with over
the past years. Through their events and their work as label curators and remixers (for artists such as Oumou Sangaré,
Blick Bassy, Cerrone, Onipa), Mawimbi have become known as ambassadors for “afro-electro” - whatever that might
mean - and their debut album buzzes with the contagious energy of the music they love. If you ask Mawimbi, Afro-electro
is about global and local inspiration, from both sides of the Black Atlantic. It’s about paying tribute to the forefathers and
the brothers and sisters in arms across the world. Afrobeat, highlife, South African bubblegum pop, Malian music,
maloya… Bubbling seeks to connect geographically separate but spiritually similar club sounds.
Hence “El Caribe” (feat. Ghetto Kumbé) is half cumbia, half Carribean dancehall, while “Ngana” (feat. Fatim
Kouyaté) has some elements of dub music and “Kakraa” (feat. K.O.G) nods to disco‐infused Ghanaian productions from
the 70s. Despite the influences, this is a record designed for home-listening, a nod to our present circumstances, but also
a deliberate step away from dancefloor. A moment of patience and reflection as much as joy and celebration.`
Above all, Bubbling is a personal record, about unexpected cross-pollinations and the collective’s individual
explorations of these musical territories. Mawimbi's own history is one of coincidences and chance encounters, and so is
“Bubbling”. All the collaborations were born out of the connections made over the last 8 years. A WhatsApp chat with
Zambian artist Mufrika, a spontaneous studio jam with Ghetto Kumbé in a Parisian Basement: these are captured
moments of real, vital connections made.
Like Mawimbi itself, Bubbling is a collage of relationships and shared experiences, shaped by nascent friendships
and musical encounters. It’s a truly DIY document in that sense, the sound of the last eight years of the Mawimbi
adventure: free spirited, passionate, warm and generous.

Singer, guitarist, flautist (and practitioner of the double tin whistle), John is
also a member of celebrated traditional group Skipper’s Alley and is joined
here by bandmate Ultan O’Brien (also of Slow Moving Clouds).
Also contributing to the record are singer Consuelo Breschi of the duo Varo,
sean n s singer Saileog N Ceannabh in, Phil Christie (O Emperor / The Bonk) on
keyboards, and drummer & composer Ross Chaney who created many of the
Tascam tape-loop drones that bind the album together.
The record was produced, engineered and mixed by Brendan Jenkinson (Villagers / Cloud Castle Lake) who also joins in on a host of instruments for the record. It was recorded and mixed at Oxford Lane and Sonic Studios, Dublin. The
material John Francis Flynn has chosen to record includes songs learned from
recordings of Shirley Collins, Frank Harte and settled Traveller Paddy Quilligan,
two songs written by activist and folk revivalist Ewan MacColl, and a West Indies halyard shanty published by “Last Working Shantyman” Stan Hugill, alongside in-studio improvisations and tunes picked up by John along the way

Cosmic traveller Herman ‘Sonny’ Blount became Sun Ra after an alien abduction, proclaiming that he came from Saturn and using music to point to human failure on earth, offering space as ethereal alternative. Supersonic Jazz was released in 1957 on Ra’s Saturn label and regularly reissued, even making it onto Impulse in 1974, its blend of bop, avant-garde and galactic well ahead of its time. More melodic and cohesive than many subsequent titles, ‘Advice To Medics’ is a troubling Ra piano diversion, and ‘Super Blonde’ a big-band stomp; ‘Soft Talk,’ by trombonist Julian Priester, is one of the vehicles for John Gilmore’s tenor sax and ‘Kingdom Of Not’ has uncommon swing. A must for all Sun Ra scholars!

The Peterson Brothers - keyboard player Ricky, bass player Billy, drummer / guitar player Paul and their nephew, saxophonist Jason - are true
brothers in arms, Minneapolis institutions, members and survivors of that city’s musical revolution. They lay the music out like an
uptown groove buffet.
You don’t need to be smart to feel the beat of the heart; you don’t need to play dumb to feel the beat of the drum. This is music everybody can get with.
Natural talent by the yard and years of playing with the some of the best of the best - from Prince to Bonnie Raitt, Eddie Harris to Mose Allison, Dave Sanborn to Boz Scaggs, Fleetwood Mac to Bob Dylan, and that barely scratches the surface - make this tribute to a legendary musical family a back-slapping, finger-popping good time.
The fact that it took a couple of decades to get these world travellers together into the same room for a couple of days only proves that when the time is right the real deal is on the table. Praise the lord and pass the ammunition, the Peterson Brothers are in town!