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The album is the fourth LP from FM Belfast. Broadcasting from their home on a remote island you can sense that the tracks are personal. The album has 11 tracks, 11 intimate stories to dance to. It's like you've been invited to a Cabin Fever Dance Party in their living room. The lyrics are about bliss, euphoria, trying to be a human in this strange world, friendship, of loss and growing up.
ALL MY POWER The first song of the album deals with guilt. When you're surrounded with people who wake up early and do everything they are supposed to do but you can't get out of your own bed. This will make you feel guilty. The others don't need to rub it in since you already have bad feelings about yourself. There are two characters in the song. One is a blamer while the other one is being blamed. FOLLOW ME I'm not longer blind, you can follow me". The song is about a person who is no longer blind to the world around her. It's about taking responsibility for your choices. We are not just a group of individuals, we are citizens of this planet and we can't stand idly by when powerful people are destroying it in front of our own eyes. We have ways to connect and we can band together against the hatred and violence. The rich and the greedy are taking everything and ruining it for the rest of us. Being kind is not the same as being naive, it's a choice everyone can make.

ENJOY
Enjoy life while it last. Don't watch the world go by without having a good time. "Here's to feeling alive, everywhere, all of the time".

UP ALL NIGHT
Sometimes you just postpone everything you're supposed to be doing and run away from your problems. The night is the best time for procrastination, you can hide in the dark and nobody can see you waste your life.

AGENT
Like many songs on the album, this one is about holding your head above water in this strange world we live in. It's easy to get blindsided and lost but who's going to speak up for the weak if you don't do it.

YOU'RE SO PRETTY
The lyrics for You're so Pretty originally come from a short story written by Lóa. They are about getting old without maturing. The song is about being restless and broke. Sometimes you feel like there is nothing left to do but shout.

STREAMERS
Streamers is a quiet love-story about having found the person you want to sit next to for the rest of your life and watch crappy TV together. Lyrics are by Árni and Lóa.

LEAVE A MARK
Even if things are not great today, there is always tomorrow. Leave a Mark is a personal reminder to do something about the life you are given and not waste time. It doesn't have to be important, it could just be writing your name on a wall. I little bit of "I was here" for the people who come after you.

FEARLESS YOUTH
It's a nostalgic song about being a fearless adolescent and the friends you used to have. The lyrics are written by Örvar who's also a founding member of MúM.

STROBE
The Strobe is an atmospheric track. It's made for people who want to dance in a euphoric bliss. The lyrics are like a mantra: It's getting dark so turn on the strobe. Don't think, just get lost in the dance.

THE GAME
The Game tells you to resist the power of bad people and bad governments. There's a big game being played and you don't need to participate, you can resist. The power hungry people of this world will never be satisfied but you don't have to support them.

This time Y-Bayani has support from the great voice of Baby Naa. Baby Naa was just hanging out at the studio in Accra/Ghana when the recordings of Rehwe Mie Enyim took place. The crew was waiting desperately for a singer to back up Y-Bayani. After an hour of waiting the producer, knowing that she sings at church every Sunday, asked Baby Naa to do the missing part. Then something occurred that nobody was expecting and finally everybody was happy that the original singer hadn't made it.

Rehwe Mie Enyim is a unique example of how roots-reggae can sound today. Maybe it will be the very last recorded real roots-reggae song in human history

On Mi Sumolo the Band of Enlightment, Reason and Love gives us a light and cheerful instrumental every DJ must have for his late night wedding set or any other high-class party.

After 3 EPs on Don Williams a.r.t.less imprint munichs TRAP10 start their own label and the debut is a versatile dancefloor EP through and through. While unmistakably influenced by classic 1990ies era techno, the detroit schooled tunes resemble the duos flexibility - be ready for interesting yet effective dj cuts to add to your record collection. A1 'Flight 781 - straight rhythm action with dark chords and a mesmerising bassy melody. B1 'Shakem' - rumbling electro drums and broken beats complemented by a grimy vocal.

Aketi Ray are an all-acoustic dub-jazz group, playing original compositions grounded in the instrumental music of post-independence Jamaica -ska, rocksteady, reggae, rockers, dub -but drawing inspiration and influence from Ethiopian and US jazz, west African percussion traditions, all with the mind set of UK steppas. An outernational sound: Kingston to Chicago to Addis Ababa to Dakar to London.The sound of "From Ever Since" draws on the vibes and heritage of pre-electr(on)ic music, but gives that traditional sound new power through the use of dub techniques of reverb, delay and EQ manipulation.The Aketi Ray sound Band leader 'Mikus' Gorecki explains: At the time I was listening to a lot of tuff digital dub tunes, and much as I love that sound still, I thought there was a lack of dubwise music getting made that had that live feel of the 60s and 70s. At the same time I didn't want to just rehash the past - the best you can do is come close to replicating that sound, you definitely won't beat it. So I decided to try something different, and bring in other connected jazz and African influences to the mix. 'Sometimes when people fuse different music traditions it can sound a bit of a collage, the elements are all there but they don't actually fuse together. I think we have our own sound, and it's greater than the sum of its parts.The compositions are forward-looking, form-pushing, and although there are no vocals, they are message-driven, concerned with conditions of modern life, spirituality and politics. Mikus says The music definitely has a message. Each track has a very clear subject in mind when writing it, but it's down to the listener to tune in to that and take from that what they will. I find you can say more with the abstract language of music than you can in words.'

'Utopia' is the ninth studio album from the iconic artist Björk, out November 24th via One Little Indian Records. The album's artwork was created in collaboration of M/M, Jesse Kanda and James Merry and reflects the records sonic direction, optimism, lightness, utopia.
Of the album she explained to Dazed this Summer that, Maybe that's why it became a utopian theme - if we're gonna survive not only my personal drama but also the sort of situation the world is in today, we've got to come up with a new plan, If we don't have the dream, we're just not gonna change. Especially now, this kind of dream is an emergency.'
Björk wrote, produced and recorded the album between Reykjavik and New York, working closely with Arca and writing for, conducting and recruiting a thirteen piece flute orchestra which will be on the road with her next year.

What attracts us to Chilean-born artist Ricardo Tobar is the notion of intersection, and although fusion is nothing new, as a concept it will always pull our heartstrings. Applying influence is amateur, we see this over and over again as we endure trend-driven appropriation of cultures the world over, but the epiphany when an artist finds true synergy between heritage and influence is a pivotal moment that the inspired will seek, even though it may take the length of one's career to behold. As pretentious as that may sound, it is precisely the hybrid born from that place of intersection that
excites us at the ESP Institute, the 'A plus B that equals 3'. We hear this in Ricardo's music — the Latin American instinct in his drums and percussion, sometimes tightly aligned with body movements and other times hauntingly mis-aligned and chaotic, intersects with his rock influence of ethereal (micro) melodies that slowly layer and layer until we're climbing a glorious (macro) wall of sound — but most importantly we hear where these different parts of his life come together to further create one unique voice. On both sides of his ESP Institute debut Liturgia, Tobar couples one pulsing dance-driven track with another atmospheric and immersive track, requiring we educate ourselves in the polarity of this language he's building, one that will expand to tell a broader story later this year with his debut album. We welcome Ricardo Tobar, another forward-thinking artist, to the ESP Institute, and are proud to support any direction his compass points from here, as we believe he'll never follow but will always lead.

It's no exaggeration to say that Geraldo Pino and his band the Heartbeats kickstarted the whole soul/funk/afrobeat scene in West Africa. Mixing highlife, funk and jazz, and using the latest equipment, they laid waste to all before them. In 1966 Fela Kuti was a jobbing musician, eeking out a living with highlife bands. When Gerlado Pino came to town, it changed his life. Pino tore up the scene,' he recalls in an interview with Carlos Moore. I knew I had to get my shit together. And fast!'. Produced by Odion Iruoje and engineered by Emmanual Odenusi, Let's Have A Party is Geraldo Pino's masterpiece. It's slick and heavy, tough and uncompromising, with musicianship that will blow your mind. It's all killer, no filler, with 'Heavy Heavy Heavy' and 'Let Them Talk' bonafide, nailed on funk classics. The Heartbeats are exactly that, a tight and efficient engine that keeps the groove moving. This is US-style funk, with an emphasis on extended percussion workouts and organ wigouts. You can't listen to 'Power To The People' without being impressed - or compelled to dance. The extended call out to each Heartbeat in 'Let's Have a Party' is well deserved. If my house caught on fire, this is the one album I'd rescue. After one listen, I reckon you'd do the same. - Peter Moore

The third instalment of the Bodybuilder Quartet has arrived, and once again label boss Nachtbraker adds an exciting name to the Quartet Series manifesto. Moscow native Kuzma Palkin previously released a double 10' and a double 12' on quality Russian imprint Gost Zvuk, but is also known for his productions under his Audiocad (Between Us) and Kausto (Shanti Records) noms de guerre. Make sure to check those out if you haven't already. Here, Kuzma serves up an EP as deep as they come, with greasy, industrial and glitchy sounds floating on steady beats. Title tune 'Macho Culture' is a peaktime roller for darker club spaces with its deep melodic stabs, slapping snares and a haunting synth. Also on the A is 'Muscle Mass Increase', which is cut from the same haunting cloth but comes with an edgy saw synth that will have the punters reach for the lazers. Flip over for 'Proper Sauna Chill', which comes with a thumping kick, beautifully crafted sound design details and an undeniable groove. Closing Kuzma's Quartet Series debut EP is 'Krepkiye Bitsepsky', another showcase of amazing sound design and warped stabs floating over a steady break beat and groovy bass line to round things off nicely.

With the single "Everything You Do, You Do For Yourself" North-Ghanaian Kologo master Guy One opens the door to his first international release #1, which will be available end of January 2018. Guy One promises what his name is saying: he is the number one artist of Frafra music, named after his people: the Frafra."Everything You Do, You Do For Yourself" is his only song having a phrase in English. Here he is following the example of his collegue and friend King Ayisoba, who introduced the use of English into Frafra music a few years ago. The beat is a driving Highlife rhythm. That's the kind of groove we all love Ghana for!On "Estre" we have special guest Florence Adooni, one of the leading voices of Frafra-Gospel. She is interweaving perfectly with the horn arrangements by Max Weissenfeldt, as well the drummer of the song, and gives after her part the lead to Mr. Guy One - yeah, the number one!

Bugsy hails from Milan where he is resident and co-host of the brilliant Take It Easy club night which brings many of the finest house DJ's to the city and remains packed week in and week out. With his featured producers Astroloop at his side Bugsy has come up with a quality debut loaded with fat, low-slung deep beats and Detroit-inspired grooves for Freerange entitled the Svegsy EP. The lead track sets the mood with mid-tempo loping beats that have 'Freerange' written all over them. We can't get enough of the simple yet satisfying warm-up vibe which oozes from this track. Understated, warm and relaxed yet with a bump and grunt which calls you to the dancefloor.
A2 is a track entitled New Vision where we find a straighter groove underpinned by a restless, pulsing, analogue bass and shifting block chords. With it's heads down attitude and simple, rolling arrangement this is Jimpster's personal favourite for banging on a big system. Flip over for the aptly titled Ghost Song. Here we get off-kilter vocals and fleeting glimpses of a melody which then disappear into the ether. All in all a slightly surreal yet groove-heavy track which has a charm of it's own.
Rounding off the EP we have Chicago house legend Boo Williams on the remix of Ghost Song, where he takes a minimal approach with a hint of acid but keeping his soulful touch. Enjoy!

The 'industry' of dance music can be as soul-crushing as any other. Those thrills and spills of late, loud nights come with a best-before expiry date, after which even the most seasoned selector-producer-scenemaker begins to wrinkle their nose. To have experienced it all over 15+ years and seek to see it unfold again through fresh eyes, what sort of lunatic would willingly put themselves through that V would. So it's a new character, but who was the mysterious V in a past life Make your own conclusions. A little digging will lead you toward the origin story, but sometimes the pleasure comes from the unknowing. Opt to enjoy the Silence. Silence, however, is not the focal point for V. In fact, this new form is a way to discard baggage and revitalise the process of music making. Tremors had become to show up in recent years on record labels in Glasgow and London, flickers of subterranean volcanic activity. Yet what proved to be rising was no big bang, nor even a phoenix from the ashes - but closer perhaps to a Nautilus. A relic by some standards but a pretty point of curiosity to others, slowly bobbing to the surface. Something ever-present and familiar to thousands, yet with mysteries left to be revealed. But hey - what does V stand for anyhow For Vilnius By origin and by where the heart lies, yes, although V for Vedett is also an acceptable answer given the artist's transposed second home of Belgium; so too is V for Volkswagen, given the production work put in around Frankfurt as of late. For Vendetta Too strong, although V does bear a grudge match against hobbyists and dilettantes. If you're going to be a new name in town, you may as well be a new name in town with years of hidden history, right For Vishnu Perhaps this is the one. V's tangle of arms extend forward in many directions: some clutching 303s and LinnDrums; others pushing fingers i

The UK's best kept secret Chocky returns to Dessous Recordings after the success of his first outing, the well received Self Knowledge EP. Here we see the talented DJ / producer drop four tracks via the Playtime EP - yet more sublime house music for Steve Bug's imprint. 'Double Dip' is a chunky, stripped down vibe, reduced the vitals that will slay dancefloors - firing percussion over a shuffling groove and a cut-up vocal reminiscent of Pepe Bradock. 'Organism' is a deep affair - spacy pads provide the counterbalance to the tough drum track, softening the edges but keeping the vibe high. 'Soul Alive' taps into Chocky's clear appreciation for the 90s, with a strong vocal, atmospheric strings and a loose yet crispy beat. 'Playtime (Dub)' brings the whole EP home with yet another stormer - beginning as a driving basement jam but then introducing an unexpected piano riff that flips the script and takes things in a welcome jazzy direction.

Melodies International proudly moves forward with an elusive piece of mid-tempo Chicago soul originally performed by Gloria J. Jennings in 1977.

Gloria was signed to Stage Productions as a gospel singer with pure and raw talent she had developed in the choir of her father's Southern Baptist Church. She was 16 years old at the time. To tutor her for R&B vocals, Willie C. Nance of Stage Productions spent 3 months taking the artist back and forth for vocal training 25 miles each way, 3 days per week.

At the time, Mr. Nance had made plans to work with singer and songwriter Theresa Eagins to record Know What You Want'. However, two days before the recording was set to begin, Ms. Eagins refused to move forward with the recording as she chose to take her religious faith more seriously and forgo the singing of secular music. Hence, Stage Productions turned to Gloria Jay to perform a song that would go on to move people thousands of miles away, many years later.

One of them was Patrick Forge: Back around 1990 I had a residency upstairs at the Wag Club on a Friday night alongside Paul Martin (he was Gilles P's A&R right hand man at Talkin Loud), the night was called Respect and we played mainly Soul, Boogie and Jazz-Funk. Many years later I bumped into Paul at a record shop and he quizzed me about a tune I used to play at the end of the night at Respect. Hhe described it as being an independent Soul seven inch on a red label, slow to mid tempo... and more to the point a bullet of a record. It piqued my curiosity so much I burrowed through my seven inches and even made Paul a compilation of likely contenders, his response was lovely selection, but it's not on there!'. Damn, a mystery! Many moons later whilst I was living in Japan, my tenant in my London flat said she'd found an old mixtape I'd done for her way back when and was desperate to know the identity of something she was calling the choo choo song'. Eventually when I was back in London she played the mixtape and I quickly identified her tune as Fabrica' by Cesar Mariano, however letting the tape play some time later a familiar descending chord sequence catapulted me back to those Friday nights at The Wag, and Gloria Jay's plaintive vocals reminded me of a record that had been absent from my life for far too long. I've no idea what happened to my original copy, I hunted another one down straight away, and I've kept it close ever since. Know What You Want' is a song that goes deep in such a simple, unaffected, almost naive way, Gloria's voice is both sweet and raw, it's built on simple chords and obvious instrumentation, but it's so much greater than the sum of its parts.

Know What You Want' is soul music, pure and unadulterated, there's nothing getting in the way of the feeling, it's straight from the heart.' Carefully re-mastered from the tapes, MEL008 comes forth in its original 7' format with a 14'x14' poster.

Although Rico Puestel has been producing since 2005, he still seems to be something of an insider tip. Since 'Caravel' though, his August release on Cocoon Recordings, things have taken a dramatic turn with Puestel currently enjoying 'man of the moment' status, especially when it comes to progressive techno and peak time action on the dance floor."973 picks up exactly where 'Caravel' left off, kicking powerfully with irresistable, effect-loaded breaks that really twist your melon. This one really works you over but there's also feeling and a touch of elegance, in fact we can't remember hearing anything like this since Len Faki's Dustin Zahn Remix! '973 proves that 'Caravel' was no flash in the pan, just one tantalising glimpse into the musical world of Rico Puestel and that's not the end of it..."272 is a little more stripped down and chilled to start with, but soon opens up into the same crazy atmosphere as '973. This is dominated by an up-and-running arpeggio synth, which combines with the now familiar effects-break motif to create an incredible hypnotic effect. A little less brutal than '973 but drenched in more reverb, '272 is something like 'kicking Deep Techno' with a nod to the Tech House corner in the style of Mark Broom or Joris Voorn. Mr. Puestel serves up two choice cuts here and there's no question that 973272 will be with us for a while. Buckle up, hold tight and off we go!

Native New Yorker Son Of Sound aka Henry Maldonado returns to Delusions of Grandeur with another fine EP including two floor-friendly originals plus a stripped back remix from Aroop Roy. For those too young to have been buying records in the early 90's Henry was a key figure, involved in seminal releases on Strictly Rhythm as House 2 House, Maxi Records as Deja Vu and MAW Records as Rhythm Section. To say this guy has history is something of an understatement having made an important contribution to the first wave of deep house with productions dating right back to '91. More recently he has created magic for Jus Ed's Underground Quality, Classic, Razor n Tape and Local Talk as well as establishing his own District30 imprint.
We kick off with NY Iz All I Know, a warm, soulful yet pumping slice of what can only be described as proper house music! Looped up vocal chops bounce around a classic disco groove until things breakdown into a new chord progression and saw wave bassline which add an interesting twist to the arrangement. Skin Tight drops next introducing a funk break underneath the solid four on the floor kick. One of Henry's trademark chord progressions emerges and the elements build up around to form another masterclass in sample-heavy house perfection.
Aroop Roy steps up for the remix following a run of fine edits and originals on the likes of Freestyle, Basic Fingers and House Of Disco. NY Iz All I Know gets stripped back and pumped up, taking the key elements and adding his own disco inspired groove and Moogy synth business for a floor- pleasing gem that we're sure will help find him new fans from across the house and disco spectrum.

The founders of // DELIRIOUS EYEWEAR and Katnip met each other through the exchange of music and fashion. They became close friends and as you'd expect this would lead to this unique product you're about to preview. Heavy on the downtempo italo disco, dub and soul cuts, once again LdK provides the listener with an exquisite track selection and also found the privilege to introduce a fresh newcomer in the scene called "Juno" on vocals and some hot keys by Thomas van Dijk. The releaseparty for this album will be in Milan with an exclusive liveshow from de Kat including the whole band. Something to look forward to! Tip!

needs is a not-for-profit record label & collective lovingly curated by Bobby Pleasure. We believe in people. The concept of the label is to use music as a medium to spread love, unity and the idea of giving back. Promoting harmony and togetherness rather than isolation and estrangement, each release and accompanying event will act as a support stream to various issues within society such as mental health, homelessness and equality. For the first release we have tracks from Hubie Davison, Johannes Albert, DJ Swagger and Bobby Pleasure. Four artists from different countries of the world who all have the needs factor, and have very kindly donated their music to the dancedloor.

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

After nearly a decade in the making, Zomby finally dispatches Mercury's Rainbow, his astonishing and uniquely formulated dedication to Wiley's series of Eskibeat releases, a.k.a. the cornerstone of grime.
Originally recorded over an intense couple of weeks while suffering from circadian dysrhythmia,
Mercury's Rainbow documents Zomby riffing on intricately hand-programmed arpeggios, using theories of colour and its relation to the sonic chromatic spectrum - the circle of fifths - to place an expressively avant spin on the Wiley Kat's slyding Triton squares and frozen, post-garage drum patterns.
Rather than simply imitating Wiley's foundational unit of grime currency, Zomby innovates with a structure of bewildering, modal styles, refracting 16 diamond-cut permutations according to a colour-sound spectrum of tonalities. In the process he effectively loosens up and liquifies the Eski riddim, rendering its bones and sinew in varying states of reactive, physical deliquescence or GIF-like micro-organisms.
For dancers and DJs, the fluid contours and viscous, displaced rhythmic anticipation of Mercury's Rainbow suggests myriad geometries for movement in-the-mix, and serves to single-handedly put to sleep a whole genre of also-ran, prosaic 'future grime' thru its methodical, inventively ground-up construction.
While it's difficult to say with certainty, if Mercury's Rainbow was issued at the same time it was created, it may have arguably altered the course of UK grime instrumentals in much the same way
Wiley's original template coined a whole new genre, essentially making it the last word in grime futurism, proper.

Genre blending and audience crossing drummer/percussionist Eric Thielemans is proud to present a brand new, exciting combo together with Rudy Trouvé , Mauro Pawlowski , Roman Hiele and Jean-Yves Evrard . With this eclectic band ET sets out to explore, or rather rub against the obscure repertoire by Jazz masters such as Ornette Coleman, Alice Coltrane, Sun Ra and Albert Ayler .Are The Mechanics a Jazz combo The Mechanics don't know. As of yet, The Mechanics have no real memory of their own. What they do know is that they are impatient to check out the mechanics behind those musics that tick their tock. They will do so as they are feathered. In colours, primal and expressive. And what better way to understand something than by breaking it and then trying to fix it .Tagging The Tag : The Ex, Liquid Liquid, Ornette Coleman, Sun Ra, James Chance, Alice Coltrane, Aphex Twin, Roland Kirk, John Cage, The Love Substitutes, Hiele, Evrard, Trouvé, Pawlowski & Thielemans.
Tag Away ! The Mechanics is an exciting new band operating out of Antwerp, home base to bands and musicians such as dEUS, Evil Superstars, Dead Man Ray, Chantal Acda, Tape Cuts Tape, Gruppo Di Pawlowski, The Love Substitutes, Kiss My Jazz, Mâäk's Spirit, The Mechanics bring together 2 generations of musicians out of the avant jazz, improv, rock, songwriter and electronics scenes. Mixed into an exciting cocktail of energies childishly bald and raw, maturely tender and constructive, spiritually curious and rocking loud with electronic burning sonic edges.

Everybody who knows Connaisseur, will probably be aware of the fact that we simply love the concept of remixes. To fnd the right person for a specifc track in order to turn an already amazing original into a new direction, is always an exciting challenge. Of course, there is always some wishful thinking on our side about what it will turn out to be like. Usually, we are completely wrong, which however doesn't mean that we are not happy with the result. Usually, we love the result even more than our own brainchild. In April, we released Of Norway's sophomore album
"The Loneliest Man In Space", a diverse masterpiece.
Since then, we have been searching for remixers whom we personally really like and of whom we are sure they can turn the track into a direction we can't even imagine. It was a bit of a journey, but now after the product ist completed, we are more than happy that we were able to bring such a group of remixers
together on one product.
As every remixer has delivered such a great interpretation, we decided to give each of themenough space to be discovered, which is why we will be releasing one remix per week over the course of two months. A selection of these remixes can be found
on a 12" extract. One extra remix is exclusively for radio and streaming.
For the vinyl extract we picked the interpretations by Lauer, Panthera Krause, Legowelt, Davis & Zopelar and Roy Of The Ravers.

Astray is the Sublabel of Away, Berlin. Tracklist A Wild Hunt AA Sahara Pump Theory B Wild Hunt (Mark Broom Remix) BB Hell For Leather INFO H4L After Discrete Circuit kicked off ASTRAY, another offshoot of the Berlin party series AWAY, the other half of their joint venture AWAY Soundsystem is in charge for ASTRAY's third installment. H4L, the Berlin-based live studio project, explores some tougher, jam-driven experiments resonating from two decades of warehouse reverberation experience. INFO Wild Hunt EP The title track starts off the release with a dusty, stripped-down pursuit. Marching forward with impelling kick drums, H4L creates an overall organic groove incorporating percussive, distorted sound particles, glancing up in and out of the mix like misty voices. 'Sahara Pump Theory' follows a more robust approach driven by vivid stab sequences and gnarly acidic bass elaborating a vibrant exchange of flow and energy. One of these unfolding weapons that know how to tickle that genuine peak-time madness. Speaking of weapons, UK producer Mark Broom is no stranger to that discipline after hitting dance floors with his ensouled workouts for more than two decades now. Following his old-school compass by calibrating the essentials of groove and melody, Broom's remix of 'Wild Hunt' throws the originals' core parts overboard to empower his highly effective hi-hats as the driving force rocketing into a distant atmosphere. 'Hell For Leather' tops off H4L's package with an unexpected hit-and-run sonic attack. Whether the competing broken and off beats, the IDM rooted drum patterns or the leftfield yet industrial jazz design - this reckless trip is by no means an easy finish, more like a feral crash course about an (almost) forgotten principle: electronic music is either an adventure or nothing at all.

The Remixs:
Pointsman - we dont know who he is but he provide a deep big room monster.
Tripmastaz - Probably the only funky Russian you will ever meet. The only Russian artist with releases on Cocoon, Minus, Desolat, Cadenza. The only Russian artist with 4 vinyl labels. Hes funky housey remix is the most faithful of the four.
bpmf - Schmer label head provides a grimey and noisey big bottom Soviet style jam.
Steve Stoll - NYC Acid legend made a hard banging acid tracer.

In 1996 Serotonin label heads Selway and Szostek went to Moscow to perform at the invitation of Magazine. Synapse performed at the Waterclub' and met the legendary DJ Compass Vrubell. They went to his studio' where he had perfected the art of making entire tracks out patterns on the Yamaha DX-5. Szostek brought a DAT of these jams back to NYC and Schmer-003 DJ RX-5 A Taste for Crap' was released as a small run white label in 97. The run sold out and disappeared to be forgotten forever...

Until 2016 Szostek casually mentions its existence to Techno Uber-Nerd Nina Kraviz who just had to have it for her Fabric 91' CD. So DJ RX-5 was back from the ash heap of history and Schmer got a NEW release from him on Schmer07.

Then Schmer got the word out far and wide that they'd like a remix EP for two of the originals: Compass provided stems because like a miracle he still had the patterns after 20 years. Heeding the call were Pointsman, Tripmastaz, Steve Stoll and Schmer's own BPMF. So this is what you get: A Taste for Remix'. It will leave your lips wanting more, for sure!

Written, performed and produced by Thomas Moen Hermansen @M57 Studios Asker Jan-Sept 2016

Published by Smalltown Supermusic/Sony ATV Scandinavia

Mastered by Schnittstelle , Photos by Ragnhild Fors, Design by Metric Design

After the slightly more conceptual "Principe del Norte"album, "5" takes two steps forward and one step back
collecting a batch of tracks that was recorded right after it's preceder and in tandem with the recent "Square One"album with Bjørn Torske.
A "freedom"album of sorts, beyond the slightly misleading album opener "Here comes the band" there's a variety in these tracks tracing inspiration from 35 years (unhealthy)obsession with all things "good music" played enthusiastically.
"5" also marks the launch of my new label "Prins Thomas Musikk".

A run through the tracks with a couple of hints to titles and inspiration:

"Here comes the band"
A planned album of a fake band consisiting of me only was ditched. This is their only entry...
Very loosely inspired by "Bandwagonesque"era Teenage Fanclub

"Villajoyosa"
Melodic ideas hummed into a handheld recorded and specific notes about instrumentation scribbled down while on holiday in Villajoyosa in Spain turned into this little ditty when back in slightly colder Norway.

"Bronchi Beat"
Made in bed during a rough patch of bronchitis. Heavily influenced by prescription cough medicine.
Orbe from Madrid made a dizzy techno version which comes out soon enough...

""
I find great inspiration in working on new ideas while travelling the skies. Partly inspired by a detour into the soundtrack of my early teens (Paul Hardcastle, Warp 9, Maze, Mtume...)this particular one was started on a bumpy flight home from Athens and later finished in my tiny M57 Studio(R.I.P.)

"Æ"
Another bronchitis-ridden idea. Slow and low is the tempo. Beat originally inspired by Brian Briggs "AEO", melodies beamed in from Wally Badarou.
"Æ"is the norwegian pronounciation of the A in Acid refering to the 303 screeches going through the "song"

"Ø"
By the title you might think I'm running out of ideas. Not sure what happened here and why...

"Lunga Strada"
The track that took me the longest to complete hence the "long road".
Personal favourites The Pilotwings from Lyon sent over 2 ridiculously good and fun remixes which will
be released on a separate 10"

"London til Lisboa"
Another idea made on a plane when I should have tried to catch some sleep.
Direction steered by Plaid and Pat Metheny. Thank you for the inspiration

"Å"
Initially the final track AND then: scrapped idea for the alphabet soup of "Principe del Norte".
Later evolved into what we have here. Comes with a really nice remix by Pional on a separate 12"

"Venter på Torske"
The final recorded addition to the album. Made while waiting for Bjørn Torske to reply on a text message...

"Aske Hermansen"
In all seriousness, this is probably as soppy as it gets with me.
Tears into my computer keyboard, made on the road missing my wife and kids.

A wild solo project from Rita Lee - done after the breakup of Os Mutantes, and offered up almost as some sort of commentary on mainstream rock in the 70s! There's a much more straightforward approach to the music here - a sometimes-glammy sound that's echoed by the band's space-style costumes and makeup - but there's also some weirdly old-style rock instrumentation too, almost like the way that an artist like Gary Glitter could fold the 50s and 70s together in his music, and come across making something very weird and new. Here, the keyboards are almost stronger than the guitars - and Rita herself plays moog, melotron, organ, and piano - on titles that include "Tem Uma Cidade", "Menino Bonito", "Mame Natureza", and "Eclipse Do Cometa".

To progress towards a civilization which does not unconsciously perpetuate or aggravate inequality and poverty, we need to accept our many differences. For those who prefer uniformity or others who would rather avoid proximity, the celebration of diversity might sound ridiculous.
A certain measure of discomfort is required to reach compassion. But peace through diversity is no prophet's fantasy. It is no harder to imagine than the magical fact that we are alive right now.
The eternal act of dancing is one of the most active form of contemplation. Facing our own selves in the mirror of movement, we realize that we indeed are reflections of one another at all times. What will our own actions and thoughts feed around us
With over 30 years of combined dancefloor experience, Possible Futures have been witnesses to the wildest fauna and flora the great nocturnal jungle has to offer.
Sourcing their inspiration from the many shades of color that co-exist between black and white, it is through the open and eclectic selections of inspired and devoted luminaries that Possible Futures have found their manyfold sound: Frankie Knuckles, Larry Heard, Francois K, Carl Craig, Moritz von Oswald, DJ Harvey, Theo Parrish, Chez Damier, Ron Trent, DJ Deep or Moodymann, amongst so many others, have dedicated their lives to the flourishing of diversity on the dancefloor.
While the minds of Possible Futures float in the air with their bodies rotating behind the turntables, their feet are steadily rooted in reality, enabling their musical knowledge to unfold beyond the night. Through their own record label, Possible Futures share their therapeutic musical blends.
The first two cuts come from the grooves of Argentine old hand Leonel, a family friend of long date. 'Antares' and 'Bunda' drag their dusty trails across different genres, to be enjoyed at 45 rotations per minute. Curative properties guaranteed.

* Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 with her debut album 'Pariah'. Jana Rush received attention for her mind-bending drum acrobatics on last year's 'MPC 7635' EP also released by Objects Ltd. Jana started djing aged just 13, releasing her first record on Dance Mania back in 1996 but having a hiatus from music between 2000 to 2013. With 'Pariah' she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from 'MPC 7635'. By popular demand from a kickstarter, now on vinyl!


* We kick off with 'Midline Shift' whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. Moving on, the frantic 'Beat Maze' confuses the mind with white noise rushes and interlocking snares. Changing the scene, 'Divine' is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with ' ', whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of 'Break It' give one room to breathe before the croaking bass and distorted acid of 'No Fuks Given'. 'Old Skool' is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both 'Rapid Fire' and 'Acid Tech 2' are bangers, hitting you deep in that sweet spot. Jana brings it back down with 'CPU''s computer noises and sub bass hits. 'Chill Mode' gives time for reflection after all that fire, but its no ambient track, theres still that Chi-Town vibe. We finish with 'Frenetic Snare' whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.

Recently, Superpitcher was invited to go on a safari in South Africa. He bought a custom made safari hat at his favorite milliner in Cologne (Ju¨rgen Eifler) and set off with big eyes and a pair of binoculars. It was wild and wonderful and he saw many exotic (and big!) animals, even a leopard in a tree that told him the secret of the universe. He forgot what the leopard said because his mind was still playing and replaying the sound of what he heard on the first night of his arrival - the hypnotic and moving sound of the voices of Africa, the voices of the wonderful Tanda Tula staff choir. There, the choir members work during the day at the camp and at night entertain the guests with their captivating voices and energetic dancing. So impressed was he with their songs and beautiful Shangaan language that he decided to record a CD for them to sell in the shop at their camp and now this precious recording is also available through Hippie Dance / Bush Recordings on vinyl and CD for you in whatever wherever camp you are. The LP of the Tanda Tula Choir comes with a very pretty poster.

Slow cooked meat, smooth cigarettes, hot baths, and fine wine." Jesse Bru knows best. A stunner of an EP written during the early days of his arrival in Berlin from Vancouver, Jesse debuts on Rhombus with two tracks of beautiful house music on wax

Feedback:

Luna City Express (Moon Harbour) - "nice ep!! like both tracks & will play" thanks;-) (norman)."
Black Loops (Toy Tonics) "yeah my man goes deeepppp."
Quarion (Tamed, Retreat) - "Great production!"
Desert Sound Colony (DSC) - "Liking Trixx!"
Shir Khan (Exploited) - "very deep and moody. like space jazz."
Mat.Joe (Mother) - "Dope!!!"
Digital FM - "Nice, EP! TNX DFM."
Laurent, Different (Radio F) - "2 nice tracks / The second is my Fav..SUPPORT!"
Kiss FM (Ukraine) - "Downloading for KISS FM, thanks!"
DANILO D'ANDREA - IFYOUWANT's Radio Show IT - "thanx."
Riyaz , DIVERSIONS (Radio CA) - "like the melodic rhythms and nuanced flows!"
Lars, Deeper Shades Of House (Radio USA) - "love "Space Jazz" atmosphere."
Ibiza Global Radio (Jose Maria Ramon) - "nice, will try it."

You probably don't know this disco banger, I think there is about 4 or 5 known copies on 7", everyone who has a copy has been keeping it quiet. I first heard it from David Haffner about 4 years ago and had been after it since then.
After a lot of research I came to the conclusion the everyone involved had passed away, but months after giving up after I spotted Benita's full name on another related LP credited as a backing singer.
I was then able to track down Benita who was alive, well and surprised and very happy to hear from me. This one is a beast and will fly out
(I find myself saying this far to often).

There is no end to composer Peter Broderick's creative output, and so we present to you his new album titled All Together Again — available worldwide on November 17th 2017 via Erased Tapes.They say music takes you on a journey, and this collection of commissioned work by Peter quite literally does that. From a ferry boat ride in Istanbul, to walking down the aisle at a wedding, these songs were created for particular situations, yet Peter found a way to work without any sort of limitations and on his own erms. The result is an assortment of works from the past ten years, coming together as one: Peter's new album. Words from Peter, October 2017: Ever since I started releasing records in 2007 (10 years ago now!), people have contacted me periodically to ask if I'd be interested in making music to accompany their projects. Most of these projects have been things like films, dance pieces and theatre plays . . . but every so often I get the odd request for something a little different. Peter, would you write a song for my wedding My one year anniversary A ferry boat ride
In early 2015 I was asked to perform 12 minutes of music during a runway show as part of New York Fashion Week. I agreed and began composing a 12-minute piece which I could perform on my own with a few different instruments and some looping pedals. I made a recording of the piece and sent it over to my contacts at the fashion show . . . but a few days before I was to fly out to New York, they wrote back and told me they actually just wanted me to play a few older songs that they were already familiar with. Feeling slightly disappointed, I shelved the other piece, giving it the title If I Were A Runway Model.It is with great pleasure that I now present this piece in a collection of commissioned works spanning the last decade . . . it's All Together Again. This group of oddball works does indeed include a couple pieces written for weddings (Our Future In Wedlock and The Walk), and a song someone asked me to write as a gift for his wife on their first year wedding anniversary (Emily). And indeed, there's a 17-minute piece written to accompany a ferry boat ride in Istanbul (A Ride On The Bosphorus). A few of the pieces were written for films (Robbie's Song, Atlantic and Seeing Things), and one for a kind of interactive installation (Unsung Heroes).In my early days of recording, I took pride in playing all the different instruments myself and doing the recording myself as well. And then at some point I started branching out, working with other musicians and recording engineers. But this record is very dear to me in that it's a return to that original approach . . . playing all the different instruments myself, working with my limits on each one, and my own limits in recording and mixing. I've always held a broad curiosity for all different instruments and all different styles of music, and if nothing else I hope this record will portray that curiosity, and my pure love for this thing we call music. Can you dig it The cover art was made by Peter himself in his hometown of Portland, Oregon, by cutting and sticking different coloured paper fragments to depict the individuality of each track.

Tenderlonious lays down his fute for this LP and goes back to the MPC, with help from the illusive Dennis Ayler. Comprised of ten cuts 'Brick City' takes the listener on a journey through Afro-House, Funk, Jazz, Rare Groove, Boogie and Broken Beat - something for everyone here! Brick City (4am)' and Buterfy' groove efortlessly whilst synth leads interject over tasty chords, all the while being supported by solid bass lines - these two
will undoubtedly set a strong pace on the dancefoor. 'Funky Booda' does exactly what it says on the tn, it's a straight Funk classic! Its infectous groove and soaring leads are sure to have you clapping your hands and stomping your feet. 'Be Ur Friend' is a fery Afro-House number - reminiscent of one of Tenderlonious's early releases 'Bob's Riddim.' There's also more hip-hop inspired selectons like 'Brick City (4pm)' or 'Pepe's Walk,' which bump hard and have strong traces of Sa-Ra and J Dilla infuence.
The record comes complete with quirky skits like 'Bootsy' and 'Ferndale Gateaux,' which blend in and out between the other tunes allowing the record to fow efortlessly from beginning to end. There is something for everyone on this album. It's the kind of record you can play at home from start to fnish or take out to the club as an essental dancefoor fller.

'Macht Macht Zement'—what does it mean 80s drums, synths and vocals, almost without context. Fallbeil, two soon-to-be men (aka boys), finish tracks at the rate of butchers kneading meatballs. Due to laziness and a lack of technique, everything gets recorded on one track and immediately thrown into the frier. Nothing is planned. First up, school detention followed by rough LoFi rap.The album contains a wide variety of themes, from mailmen to warthogs, from latecomers to sensible conversation, every track is created out of spontaneity. Two very short tracks on this album date back to 1999, when the boys performed as 'Funky Granatos' in the local youth centers. Sadly, their performances weren't successful. Nobody wanted to listen to them and almost every concert ended in mass brawls. The track 'Postman' comes from the duo's side project Grand Malheur and was recorded in 2015 in Bronxfeld. More output from this project will appear on various EPs in the near future. The album title 'Macht Macht Zement' originates from Tom Pötgen. Tom always wanted to throw the sacred hand grenades. We hope he does that right now!

For the 108th installment in the ever expanding planet rhythm catalog, a various artists effort has been planned with some of the label's usuals and some exciting names we have had our eye on for a while now. For the A-side, ARTS label owner Emmanual brings his much appreciated E100 to vinyl. Previously released digitally through his own imprint, this cut has been sought after for a while now. Second up is Eindhoven native Albert Van Abbe. Albert has been making a lot of waves for a long time now and we're very glad to welcome him to the PRRUK family. More to Ignore 04 is a funked out piece of machine music that will definitely turn some heads. The B side is opening with Elyas' The Hangman. The mysteryman that gained some infamy through his releases on Modularz and Olympian delivers a cutting edge Techno work-out. Closing down this VA 12'' is Mendy. Returning to PRRUK for the 2nd time, Mendy has come up with ''Elevation'' which is a chordy techno theme for peak hours.

Grammy® Award-winning Rock and Roll Hall of Fame inductees Green Day will release Greatest Hits: God's Favorite Band on 17th November. The playlist includes 20 hits spanning the band's prolific 21 years as a band, plus a brand new song called Back In The USA' and a new duet with award-winning Country Music superstar Miranda Lambert on Ordinary World.' Green Day frontman Billie Joe Armstrong previously collaborated with Lambert at the 56th annual Grammy® Awards in 2014 for a live duet in tribute of the late Phil Everly of The Everly Brothers.

On 22nd March, God miraculously came down to the Ed Sullivan Theatre to introduce Green Day as God's Favorite Band' on The Late Show with Stephen Colbert. When God speaks people listen, and he granted Green Day the title: Greatest Hits: God's Favorite Band. The collection chronicles the sonic journey of one of the most essential and dynamic rock bands in recent history. Formed in 1986 in Berkeley, CA, Green Day achieved breakout success with 1994's Dookie which has sold over 10 million copies to date in the U.S. alone. Widely credited with popularizing and reviving mainstream interest in punk rock, Green Day would go on to release Insomniac (1995), Nimrod (1997), and Warning (2000). In 2004, Green Day released the rock opera American Idiot which captured the nation's attention and sold more than six million copies in the U.S. Mojo declared It's exhilarating stuff, the kind of record that sets new parameters as to what is possible from a punk rock'n'roll band in the 21st century.' In 2010, a stage adaptation of American Idiot debuted on Broadway. The band went on to release the critically acclaimed 21st Century Breakdown (2009) and the album trilogy Green Day ¡Uno!, Green Day ¡Dos!, and Green Day ¡Tré (2012).

Green Day is one of the world's best-selling bands of all time, having sold more than 75 million records worldwide. The group has won five Grammy Awards. On April 18, 2015, the band was inducted into the Rock and Roll Hall of Fame as a part of the 2015 class in what was their first year of eligibility for induction. Green Day's 12th studio album Revolution Radio was released on 7th October, 2016 and debuted at No. 1 on the UK Official Album Chart. Upon its release, People proclaimed: The punk vets still have a tattooed finger on the national pulse.'

Massimiliano Pagliara returns to Live At Robert Johnson with a double release titled Devoid Of Dimension Pt.1 and Pt.2.
Devoid Of Dimension Pt.1 will be avaible on 12" vinyl and digital. Devoid Of Dimension Pt.2 on 7" vinyl only.

Massimiliano Pagliara returns to Live At Robert Johnson with a double release titled Devoid Of Dimension Pt.1 and Pt.2.
Devoid Of Dimension Pt.1 will be avaible on 12" vinyl and digital. Devoid Of Dimension Pt.2 on 7" vinyl only.

After more than 5 years releasing exclusively their own material on their own label and with 12 EP released since nowadays there, NX1 use now the cultivated experience through this years to launch Nexe Records, a new platform with which they open to release other related artists and collaborations that will rule the label.

To get started, Nexe Records opens with a 3 EP vinyl pack which contains 12 artists remixing released tracks from NX1. The first three records are involving names such as AnD, Orphx, Blush Response, Ontal, Samot, P.E.A.R.L., Scalameriya, Go Hiyama, Surit, Lucindo, RE_P and The Exaltics, a wide sort list that define the borders and possibilities of the sound that the duo purposes for this new label.

The third EP opens with a classy electro remix from one of the most reputed names from the genre, The Exaltics. Following on the A side we also find Samot, half of the NX1 duo and who delivers a broken hard twisted remix that works perfectly for any serious techno set. The B side starts with an overwhelming raw acid version from the modular industrial artist Blush Response showing his unmistakable convoluted style. Last track of the record is done by the spanish P.E.A.R.L, serving a serious driving techno track that keeps you mesmerized with deep pads and a strong punching kick.

Introducing Mr. Eff. Part myth, part man. Dragging by the arm to safety through digital swamps and haunted houses, The Parallel stands as a singular vision of Miltonian proportions. Small vignettes and passing scenes give way to grandiose and beautiful moments, from the wave-sleaze of Midnight Predator to the pre-credits Suicide-tribute of H E A R T T H R O B, The Parallel works as much for drive time as it does for drifting off to a far off land that is both wonderful and strange. Not to be ignored. Art by Eric. A Lee.

In 2017, the musical term electronic' is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn't be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith's music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track An Intention,' which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith's watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith's ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of In The World But Not Of The World' which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one's own identity to begin giving back to the formative forces of one's upbringing, which is arguably the duty that all great artists
aim to fulfill. This side ends with the exploratory album cut Who I Am & Why I Am Where I Am' recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble
piece of sound design serves as a contrast to side four's verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a
return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best' this concept is voiced in the bittersweet refrain one day I'll wake up
and you won't be there' which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the
listener, and both interpretations are equally moving.
Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners,
and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar
gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.

Alan Watts, another logical inspiration of Smith's, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. You're not there unless you're recorded,' Watts muses, if you shout, and it doesn't come back and echo, it didn't happen.' The Kid speaks to this idea directly. As Kaitlyn Aurelia
Smith explores her existence through music, she guides us in gleefully contemplating our own.