Search:wee

Fast 20 Jahre ist es her, dass Seasick Steves gefeierter Auftritt in Jools Hollands Hootenanny den unbekannten amerikanischen Singer-Songwriter zu weltweitem Ruhm verhalf, und seine verbeulte dreisaitige japanische Gitarre und die alte hölzerne Stompbox Musikgeschichte schrieben. Die überwältigende Resonanz überraschte niemanden mehr als Steve selbst und traf ihn wie ein Blitzschlag, dessen Auswirkungen auch fast zwei Jahrzehnte später noch zu spüren sind – inzwischen ist er auf fast allen großen Festivals der Welt aufgetreten und hat über zwei Millionen Alben verkauft. Sein neues Album "A Trip A Stumble A Fall Down On Your Knees" erscheint über So Recordings. Es ist ein Album, von dem er stolz sagt, dass es sein bisheriges Lieblingsalbum ist: "This album was made by mistake, as the title suggests we just tripped and stumbled into it, and it became my favourite album ever and the piece of work I’m most proud of to date. There’s not a week goes by that I don’t thank my lucky stars for that night on the Hootenanny which has brought us here to this record."

Fast 20 Jahre ist es her, dass Seasick Steves gefeierter Auftritt in Jools Hollands Hootenanny den unbekannten amerikanischen Singer-Songwriter zu weltweitem Ruhm verhalf, und seine verbeulte dreisaitige japanische Gitarre und die alte hölzerne Stompbox Musikgeschichte schrieben. Die überwältigende Resonanz überraschte niemanden mehr als Steve selbst und traf ihn wie ein Blitzschlag, dessen Auswirkungen auch fast zwei Jahrzehnte später noch zu spüren sind – inzwischen ist er auf fast allen großen Festivals der Welt aufgetreten und hat über zwei Millionen Alben verkauft. Sein neues Album "A Trip A Stumble A Fall Down On Your Knees" erscheint über So Recordings. Es ist ein Album, von dem er stolz sagt, dass es sein bisheriges Lieblingsalbum ist: "This album was made by mistake, as the title suggests we just tripped and stumbled into it, and it became my favourite album ever and the piece of work I’m most proud of to date. There’s not a week goes by that I don’t thank my lucky stars for that night on the Hootenanny which has brought us here to this record."

"Leave Of Absence" beginnt mit einer schaurigen Geigenschwellung, bevor es in den Gitarrenwahnsinn ausbricht, der von Sean Martin (Twitching
Tongues, ex-Hatebreed) und Mike McKenzie (The Red Chord) im Duett gespielt wird. Umbra Vitae bleiben mit "Belief Is Obsolete" und "Clear Cutter"
im roten Bereich und stellen die elektrisierende Rhythmusgruppe von Jon Rice (Uncle Acid, Tsjuder) und Greg Weeks (The Red Chord) vor. Das
Hook-geladene "Anti-Spirit Machine" steht dann im Mittelpunkt, ein Kriegsschrei für die Unterdrückten. Von hier aus fahren Umbra Vitae fort, alles zu
zertrümmern, was sich ihnen in den Weg stellt. Das disharmonische "Reality In Retrograde" rast mit knirschender Unschärfe in das schwerfällige "Past
Tense" und das düster-verführerische "Velvet Black". Zwei Songs, die metallische Heaviness in Reinkultur sind. "Twenty-Twenty Vision", "Algorithm Of
Fear" und "Empty Vessel" steigern die Intensität, angetrieben von den ergreifenden lyrischen Themen und den unmenschlichen Gesangseinlagen von
Jacob Bannon (Converge). Die Dreifaltigkeit aus dem langsamen "Cause & Effect", dem ultra-gewalttätigen "Deep End" und dem wirbelnden "Nature
vs. Nurture" prügeln weiter auf die Hörer ein und leiten das miteinander verbundene "Fatal Flaw" und "Light Of Death" als bösartiges Finale dieses
modernen Metal-Meisterwerks ein.

Keith Hudson was a one-of-a-kind musical innovator with an impeccable track record from the start: his first studio recording involved former Skatalites, and his earliest releases provided solid-gold hits for Ken Boothe (“Old Fashioned Way”, 1967), John Holt, Delroy Wilson, U-Roy and the others.

With Pick A Dub Hudson produced one of the best dub albums ever, and with The Black Breast Has Produced Her Best, Flesh Of My Skin, Blood Of My Blood he released the first concept album in reggae history, bringing his all-around talents to full fruition as early as 1974. Thematically dedicated entirely to Black history, the latter of these two albums is a masterpiece that captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. Like Lloyd Bullwackie Barnes, his splitting from tradition was dynamic and all his own.

As his career moved on, Hudson found himself working outside of Jamaica, more frequently in London and New York studios and for transatlantic audiences, his dark experimentalism becoming increasingly better suited to the LP than the cardinal 7” reggae format.

Playing It Cool & Playing It Right was released in 1981 on the Joint International label, in NYC, with Lloyd Bullwackie Barnes as the executive producer. The Love Joys and Wayne Jarrett, stalwarts of Barnes' record label, Wackies, would also inimitably feature Hudson at the microphone. Like Bullwackie, Hudson was a devotee of Coxsone Dodd’s Studio One and Playing It Cool & Playing It Right follows Dodd’s then strategy of overdubbing his signature rhythms. The Studio One sides were aimed at the dancefloor and Hudson’s reworkings of tracks like “Melody Maker” are more psychological. Here, deep Barrett Brothers rhythms are made deeper with reverb, filters and distortion; everything pitched down and overlaid with new recordings of guitar, percussion, keyboard, and voice, often heavily treated.

Playing It Cool & Playing It Right continues Hudson’s psycho-acoustic journey into the abysses of existence, and overwhelms with the beauty of artistic self-empowerment. "Too much formula," sings Hudson, whose voice is occasionally reminiscent of Sly Stone or even Tom Waits. "Darkest night," answers an echoing background choir elsewhere. Even more fascinating is Hudson's production, which reflects Black history in even the smallest sound detail, the flashing whip of the slave driver still echoes in the sound of the snare drum. Rarely has a roots sound been made so electrifying, so expansive in all directions, so crystal clear, so bass-warm and echophonic as on these 30 minutes of music.

Playing It Cool & Playing It Right is legendary, strange, utterly compelling music that has possibly never been more topical than it is today.

Fast 20 Jahre ist es her, dass Seasick Steves gefeierter Auftritt in Jools Hollands Hootenanny den unbekannten amerikanischen Singer-Songwriter zu weltweitem Ruhm verhalf, und seine verbeulte dreisaitige japanische Gitarre und die alte hölzerne Stompbox Musikgeschichte schrieben. Die überwältigende Resonanz überraschte niemanden mehr als Steve selbst und traf ihn wie ein Blitzschlag, dessen Auswirkungen auch fast zwei Jahrzehnte später noch zu spüren sind – inzwischen ist er auf fast allen großen Festivals der Welt aufgetreten und hat über zwei Millionen Alben verkauft. Sein neues Album "A Trip A Stumble A Fall Down On Your Knees" erscheint über So Recordings. Es ist ein Album, von dem er stolz sagt, dass es sein bisheriges Lieblingsalbum ist: "This album was made by mistake, as the title suggests we just tripped and stumbled into it, and it became my favourite album ever and the piece of work I’m most proud of to date. There’s not a week goes by that I don’t thank my lucky stars for that night on the Hootenanny which has brought us here to this record."

ColorJaxx' latest offering, the 'Tales Of Never' EP, seamlessly melts into Flipsight's signature style. Born out of the atmosphere of local parties organized by the label, it narrates the essence of your ideal weekend.
Kickstarting your unwind session with the melancholic 'Tales Of Never', a track that sets the tone for relaxation after a hectic week. However, don't linger too long: 'Night After Night' counters this mood with a joyful bliss of a sunny Saturday! The A-side of the vinyl paves the way for the club-ready B-side. 'Here For You', a classic house tune, brings the four-by-four energy to the dancefloor, while 'There is Something' wraps up the EP with an after-hours ambiance, leaving a sense of euphoria for those still awake. It's a must-have addition to any electronic music enthusiast's collection.

Ella Fitzgerald was an great American jazz singer, sometimes referred to as the "First Lady of Song", "Queen of Jazz", and "Lady Ella". She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a "horn-like" improvisational ability, particularly in her scat singing. Louis Armstrong, nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several eras in the history of jazz. Together Ella & Louis recorded various songs. On this 3 LP in a gatefold sleeve the complete “Ella & Louis”& “Ella & Louis Again” albums (30 tracks). All these tracks were recorded in Hollywood in 1956 & 1957 with on most tracks Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass. Buddy Rich played drums on Ella & Louis. Louie Bellson drums on the “Ella & Louis Again” tracks. This Classic Albums Collection is a must have for music lovers.

"Leave Of Absence" beginnt mit einer schaurigen Geigenschwellung, bevor es in den Gitarrenwahnsinn ausbricht, der von Sean Martin (Twitching
Tongues, ex-Hatebreed) und Mike McKenzie (The Red Chord) im Duett gespielt wird. Umbra Vitae bleiben mit "Belief Is Obsolete" und "Clear Cutter"
im roten Bereich und stellen die elektrisierende Rhythmusgruppe von Jon Rice (Uncle Acid, Tsjuder) und Greg Weeks (The Red Chord) vor. Das
Hook-geladene "Anti-Spirit Machine" steht dann im Mittelpunkt, ein Kriegsschrei für die Unterdrückten. Von hier aus fahren Umbra Vitae fort, alles zu
zertrümmern, was sich ihnen in den Weg stellt. Das disharmonische "Reality In Retrograde" rast mit knirschender Unschärfe in das schwerfällige "Past
Tense" und das düster-verführerische "Velvet Black". Zwei Songs, die metallische Heaviness in Reinkultur sind. "Twenty-Twenty Vision", "Algorithm Of
Fear" und "Empty Vessel" steigern die Intensität, angetrieben von den ergreifenden lyrischen Themen und den unmenschlichen Gesangseinlagen von
Jacob Bannon (Converge). Die Dreifaltigkeit aus dem langsamen "Cause & Effect", dem ultra-gewalttätigen "Deep End" und dem wirbelnden "Nature
vs. Nurture" prügeln weiter auf die Hörer ein und leiten das miteinander verbundene "Fatal Flaw" und "Light Of Death" als bösartiges Finale dieses
modernen Metal-Meisterwerks ein.

Viele von uns werden sich täglich daran erinnern müssen, dass es nicht mehr 1967 ist. "We All Belong" von DR. DOG ist eines dieser Meisterwerke, dass eine Standleitung zu der Quelle hat, an der sich seinerzeit auch Brian Wilson, Neil Young, Robbie Robertson, John Lennon und Paul McCartney gütlich taten, um so erfrischt einige der besten Songs der Geschichte zu schreiben. DR. DOG haben damit einen Klassiker geschaffen, der nicht nur absolut zeitlos, sondern reich an Seele, voll von purem Rock'n'Roll und manchmal auf so unheimliche Weise vertraut ist, dass man sich sofort zu Hause fühlt - trotzdem jedoch bleibt der Sound auf ,We All Belong" einzigartig. Die Produktion steht ebenso in der Schuld von George "The 5th BEATLE" Martin wie auch Jeff Mangum (NEUTRAL MILK HOTEL). Die Songs, die da regelrecht aus der Feder und den Instrumenten von DR. DOG fließen, sind auf der einen Seite eine große Hommage an die Brillanz vergangener Zeiten und auf der anderen Seite der Weckruf einer Generation, der vom müden Indie ihrer Zeit ganz schläfrig zumute ist. An den Trompeten des Weckrufs: DR. DOG, deren Appeal durchaus noch weitere 40 Jahre bestehen könnte.

Double LP set capturing some of Causa Sui's heaviest, most psychedelic tunes recorded live at Loppen - a legendary Copenhagen venue, located in the famous - and infamous - Freetown Christiania commune. This is the sound of Causa Sui at their home turf, stretching out and exploring eight epic fan-favourites from their entire catalogue in front of a small crowd of 400 people in a packed sold-out venue. The show was recorded the first week that Covid restrictions were lifted on venues in Denmark, which called for an especially buzzing night, even for a band that has exclusively played no more than a handful of shows each year since their 2005 debut. Each Causa Sui show is unique. Here we're offered a different perspective of the band's music - it's looser, more free-flowing, and some tracks are warped into something far from their original versions, bouncing off the wooden beams on the low ceiling of Loppen with renewed energy. At one point you can hear the band calling to take a breather and let some air inside the sauna-like temperature of the show, which just weeks before seemed impossible. Loppen 2021 offers a complete set from start to finish, so since chances that you'll catch the band live in person are slim, this is the next best thing. Mixed and mastered by Jonas Munk. Edition of 1000 copies on coloured ecomix vinyl.

Despite initial obstacles, Loverboy established themselves as one of the most successful Canadian rock bands of all time. "Working For The Weekend" is not only their mega-hit from the 80s, but has been Loverboy's motto for over 40 years. Their 1982 performance appears for the first time in fully restored & remixed sound. "Live In '82" not only captures the band's joy of playing and energy, but also reflects the golden era of the 80s: colorful clothes, fancy hairstyles (and headbands), great movies and great music. As a limited CD+Blu-ray edition & limited 180g Black LP edition with bonus DVD and including their mega hits "Working For The Weekend", "Turn Me Loose", "The Kid Is Hot Tonight" & more.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Warehouse Find!

The masterful, supergroup of Phreek lead by Patrick Adams, sees three of its sought-after masterpieces, two of which have never been on a 12 inch, officially reissued and remastered on a label that’s fast becoming a go-to for in demand reissues, South Street Disco.

A pure classic, ‘Weekend’, was born back in ‘78 written by Leroy Burgess and James Calloway and produced by Patrick Adams and Burgess, they lead an expertly curated troupe for this massive Paradise Garage staple and Larry Levan favourite. That late ‘70s sound where synthesisers rose to prominence, sees a combination of cosmic keys, freakish strings and power-play funk guitars, tied together with tight percussion, bold basslines and Christie Shire’s lead vocals, that whole heartedly captures the spirit of disco. Famously remade into a house anthem 10 years later by Todd Terry, ‘Weekend’ is a timeless slice of celestial magic.

In a similar fashion ‘Everybody Loves A Good Thing’ does another blast around the cosmos - a Universal Robot Band feel emanating from the buzzing synths and awe-inspiring vocal prowess of Leroy Burgess, coupled with ‘Shining’ star, Venus Dodson. As uplifting as it gets, complete with a killer piano breakdown to draw out every ounce of anticipation.

Flip it over and a whole side is devoted to the greatness of ‘I'm a Big Freak R*U*1*2’. A mesmerising, fast-paced, disco workout with sensuous groans, sleazed up, supernatural keys and a heavy bass that just goes and goes and goes! Favoured by the biggest and best out there, from Ron Hardy to Theo Parrish, it’s got the power and energy to light up even the most demanding of dancefloors.

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Songs by Norwegian black metal drummer Einar
Selvik (Vikings, Gorgoroth, Wardruna), also known
by his stage name Kvitrafn (white raven).
Lyrics are sung in Old Norse and they mainly
consist of excerpts and edited Old Norse Skaldic
and Eddic poetry, except for the song ‘When Horns
Resound’, which was written by Einar.
Pressed on opaque white vinyl with printed inner
sleeve.

2024 Reissue

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Score by Danish composer Jesper Kid (‘Assassin’s
Creed 2’, ‘Borderlands 3’, ‘State of Decay 2’,
‘Warhammer: Vermintide 2’) and American
composer Sarah Schachner (‘Assassin’s Creed:
Origins’, ‘Call of Duty: Modern Warfare’, ‘Anthem’).
“‘Valhalla’ marks the first time the two of them
Sarah & Jesper have worked together, and the
sheer size and scale of the Viking-themed
soundtrack is all the better for it.” - spin
Double LP with Red with Yellow Splatter (LP1) and
Teal with Black Smoke (LP2) coloured vinyl in a
gatefold sleeve with printed inners.

Late Night Tales and Bonobo were pretty much made for each other, it just took them a while to both realise it. Stepping forward into the compilers spotlight for the 33rd edition is Simon Green - aka Bonobo - a musician, producer and DJ perfectly suited to soundtrack an evening spent reclining to some parallel beats. Six albums to the good (most recently 'The North Borders' released earlier in 2013), Green has been on a winning streak since 2010's breakthrough 'Black Sands', which has now sold in excess of 160,000 copies. His music has aided the sales of Citroen cars and Olay creams, as well as soothing the puzzlement of Lost. Wrapped in delicately programmed drums, Green's music is at once both sombre and reassuring. If what comes out the other end is the music of Bonobo, then this is the fuel that keeps the engine running: soul, jazz, classical, pop, funk, leftfield, rock. Pianos and brass are abundantly present. Our ivories are warmed and tickled by the classic, Bill Evans, and new school, with Matthew Bourne's mournfully beautiful 'Juliet' and Dustin O'Halloran's 'An Ending A Beginning'. The brass section comes courtesy of Menehan Street Band's jazzy 'The Traitor', 'Flipside' by the Hypnotic Brass Band. Exclusives include YouTube sensation 'One Thing' by Peter & Kerry . Not only that, but there's Bonobo's special LNT cover version, a brilliant reading of Donovan's 'Get Thy Bearings', As the light dims, the unsettling sounds of Lapalux or maybe even Shlomo pierce the misty evening air, before giving way to the ethereal splendour of Eddi Front's 'Gigantic' or even Nina's paean to an imagined rural idyll 'Baltimore'. Amble down to the riverside. It could be the Great Ouse, as willows weep into the water; it could even be in Brooklyn overlooking the Lower East Side, as the sun slides down the sides of the skyscrapers. Take a notepad for inspiration. Maybe even a hipflask for a slug of something warm. Sit down and reflect and let those beautiful pianos skim the water's surface. Sometimes, you think, life is good. You can't play a symphony alone, it takes an orchestra to play it: Simon Green is your conductor.

Big Vern, also known as DJ Vern was a resident DJ on Weekend Rush, a pirate radio that broadcast out of the Nightingale Estate in Hackney. To be precise, it broadcast out of the Embley Point high rise, the same tower that Kool FM as also broadcasting out of at the same time. It was here that Vern met DJ Ash, a resident of Kool FM and the two of them joined forces for their release on Tearin Vinyl in 1994.

Around the same time as the two of them teamed up, Vern was also running his own label, World Bass Records. It was on this label that Vern formulated his own distinctive East London sound of Jungle. His debut release on the label in 1994 – The V Experience EP, was a 3 tracker that received a lot of rotation back in the day. This release was followed a 12” in 1995 which had one of Vern’s tracks on there – ‘Vision’.

Fast forward 27 years to 2022 and Vinyl Fanatiks have repressed all 4 of those tracks on one EP titled ‘Vision Of Experience’, an EP that showcases the raucous sound of Vern and his integrate and rambunctious skill and ability to manipulate a sampler to create some of the heaviest jungle of the era.

Both of the original releases are highly collectable and withstand the elements of time and capable of going toe to toe with any recent jungle output from the 21st century.

Support the architects…

Die in Edinburgh ansässige fünfköpfige Band rEDOLENT veröffentlicht ihr Debüt über das aufstrebende schottische Label und Kreativzentrum Post Electric (Heimat von Hamish Hawk, Humor, Iona Zajac, Voka Gentle). "Dinny Geet", eine akribische Mischung aus eckigem Pop, Elektronik und eigenwilligen Melodien, bietet auf zehn eleganten, durchdachten Tracks harte Realität und freudige Flucht. Obwohl rEDOLENT so unterschiedliche Einflüsse wie Mount Kimble, King Krule, Animal Collective, Brockhampton, LCD Soundsystem, Madvillain, Tom Vek, Clairo, CAN und Talking Heads zitieren, gehen sie zweifellos ihren eigenen Weg und kreieren einen eigenen maßgeschneiderten Sound.

Die in Edinburgh ansässige fünfköpfige Band rEDOLENT veröffentlicht ihr Debüt über das aufstrebende schottische Label und Kreativzentrum Post Electric (Heimat von Hamish Hawk, Humor, Iona Zajac, Voka Gentle). "Dinny Geet", eine akribische Mischung aus eckigem Pop, Elektronik und eigenwilligen Melodien, bietet auf zehn eleganten, durchdachten Tracks harte Realität und freudige Flucht. Obwohl rEDOLENT so unterschiedliche Einflüsse wie Mount Kimble, King Krule, Animal Collective, Brockhampton, LCD Soundsystem, Madvillain, Tom Vek, Clairo, CAN und Talking Heads zitieren, gehen sie zweifellos ihren eigenen Weg und kreieren einen eigenen maßgeschneiderten Sound.