Cerca:essential r

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

WRWTFWW Records is excited to announce the official reissue of Motohiko Hamase’s remarkable ambient/environmental/minimalism project #Notes of Forestry, available for the first time since 1988. The album is sourced from original masters and available on vinyl and CD with liner notes from the artist. This marks the third release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano. One of the most fascinating and peculiar works from the golden era of Japanese ambient, #Notes of Forestry was initially released in 1988 by Newsic, the cult label started by Tokyo’s Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. Conceived by Jazz bassist turned experimentalist Motohiko Hamase, the magnum opus offers an enchanting mix of free-form pastoral electronics, otherworldly percussions by Yasunori Yamaguchi, and delightfully allusive piano played by none other than Satsuki Shibano (Sound Process’ Wave Notation 3). Vibrant, sometimes eerie, and absolutely captivating, #Forestry captures Hamase’s quest for musical freedom, he explains: “Inside the body of a musician, music is always transcendentally resonating. More than language, music reigns. When creating music overlaps with the moment my body performs, I strive to be as close as possible to the feeling of musical freedom. I feel that this notion lies at the foundation of this album". Musical freedom, here, provides an essential escape, extending the path uncovered by pivotal releases such as Midori Takada’s Through The Looking Glass, Satoshi Ashikawa’s Still Way, and Yutaka Hiros’s Nova. #Notes of Forestry is reissued in conjunction with Motohiko Hamase’s Technodrome and Anecdote albums,

2x12"

It’s taken Yotam Avni a little while to get to his debut album; almost a decade, really, since his debut 12”, “That’s What The World Needs”, on California’s Seasons Limited imprint. During that time, the Tel-Aviv based producer has refined his productions, tightening the groove and paring everything back to bare essentials; the power in an Avni cut is its combination of piston-pulse propulsion and a deep, but gently applied, musicality. This combination gives his techno productions added heft on the dance floor, but also a lyrical sensibility that places him squarely in a tradition of techno legends who somehow manage to make the four-to-the-floor a space of poetic intensity, of rigorous joy.

Avni’s been on Kompakt’s radar for a while, first appearing on the label last year, with his Speicher contribution, “Mañana Mañana”. (“Track For Agoria”, from that EP, also appeared on Total 19.) The connection immediately made sense – dance music that managed to feel both lush and streamlined across the same great gasp of late-night energy. But with Yotam Avni Was Here, he’s taken a huge leap. After a brief intro, Avni sets his stall with “Beyond The Dance”, which features slow-moving vocal melisma over sculptural, melting tonalities, a tintinnabulating, harpsichord-like two-note phrase pacing out the track. Then “It Was What It Was” comes into view, its strip-light textures suddenly placed into sharp relief by a muted trumpet figure that hangs in the air, melancholy and pensive.

It’s no surprise, at this point, to discover that Avni’s inspirations for Was Here took in the histories of both techno and jazz. “I wanted to try something more around Detroit Techno meets ECM,” he reflects, when explaining the motivating forces behind the album. “Carl Craig’s Just Another Day EP and Kenny Larkin’s Keys, Strings, Tambourines came out during my high school years and had huge impact on me.” Avni’s also appeared on Transmat compilations, and remixed artists like the Midwest’s Titonton Duvanté, and Orlando Voorn – the latter particularly important for the way he connected the Detroit and Amsterdam techno scenes – his career path is marked by ongoing connections, direct and indirect, to Detroit’s storied history.

“I always wanted to go back to those hi-tek soul roots on a full album,” he continues, and he’s definitely exploring that terrain here, with the sky-strafing brass on “Free Darius Now”, morse-code keys on “Vortex” and glitchy, microhouse tickles of “Know Hope” all contributing to an oblique narrative that seems to arc across Was Here – one fleshed out by guest musicians, who include dop and Gerog Levin on vocals, and trumpets by Greg Paulus (of Beirut and No Regular Play). The cover art makes the jazz connection explicit, riffing on the text-based, minimal design of The Modern Jazz Quartet’s 1955 album for Prestige, Concorde. But the way Avni has gathered around him both inspiring musicians and intriguing reference points makes me think of his broader career as well, the collectivism behind his AVADON nights in Tel-Aviv, his many and wide-ranging releases on labels like Innervisions, Hotflush and Stroboscopic Artefacts, and the openness of his productions, which seem to be all about the multiple, the possibilities of cross-pollination, of fusing this with that, of adding and subtracting, all under the pulsating thumbprint of techno.

Good things, after all, are worth waiting for.

Once more we're ready to take flight on Africa Airways, for this sixth journey we're taking you above 5280 feet and laying on the funk.

The flight opens with the punchy horns, afro rhythms & groovy bass of Eko Roosevelt's "Ndolo Embe Mulema". Keeping the tempo high we usher in fellow Cameroonians JM Tim & Foty for another punch of brass with the funky "More And More (Ye-Male)". We stay in Cameroon with Ngalle Jojo, here he lays down another funktastic bass heavy stomper with "Ngigna Loko". Jude Bondeze hails from Bangui, Central African Republic and is probably best known for his more traditional Tene Sango album... but his debut 1981 release saw him in a very funky mood indeed!

Next up, Nigerian Vicky Edimo gets his thumb out and lays down some glorious slabs of deep funk... along with a rather splendid bass solo! JK Mandengue played bass off & on for the British Afrobeat band "Osibisa", playing on the uber funky "Super Fly TNT" Motion Picture Soundtrack album.. Certainly putting him on a path to the Wahahwah'tastic "Kosa Mba" taken from his 1979 self-titled album.

Slow percussive classic raw street funk from Nigeria's Akwassa, who's line up is the same as "Heads Funk Band", are up next. Another outing for Vicky Edimo on this 1978 beauty from Mike Kounou. Also on guitar duties for Mike Kounou is Francois Amadou Corea, who's funky chops can be heard on "Ngigna Loko" & "Njonjo Mukambe".

Hi-Octane funk from Airto Fogo, percussion, rhodes & horns aplenty on this 1974 instrumental cut "Black Soul". As we prepare to start our decent Francois Misse Ngoh drops in some filth with this 1980 bass face monster "Njonjo Mukambe"... head nodding isn't essential, but it's best to brace yourself for impact.

Your next Africa Airways departure will be ready for boarding soon,
so keep your passports at the ready!

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

"Aix" is an outstanding piece of work by Italian electro-acoustic savant Giuseppe Ielasi, originally released in 2009 on Taylor Deupree's 12k label, the follow-up to 2007’s "August" (12k) and Ielasi's first collaboration with Nicola Ratti as "Bellows", also out in 2007 (Kning Disk). Originally only released on CD (12k), the album got a very limited vinyl issue on Czech label Minority Records in 2010. Keplar presents this extraordinary and timeless collection of 9 evocative minimalist soundscapes on vinyl again after 10 years.

From the original press release in 2009:

"With Aix we see Ielasi building his layered, atmospheric music around rhythmic grids. Most of the time these are quite irregular and the pulses are not neccessarily stable or clear. Where his previous work approached sound in a linear fashion Aix imposes a strong vertical development with the aforementioned grid and a production consisting of ons and offs, employing as much improvisation as Ielasi’s previous work, but in a different way.
Despite the self-imposed grid structure, Aix relies heavily on randomization. Not in the traditional sense of sound placement but instead of the spatialization of sounds, echoes, reverbs and the stereo image. As a result, Aix has an amazing sense and clarity of space as the small fragments of sound breathe and find their own place in the mix, thanks to Ielasi’s sublime skills as a mixer and engineer.
Ielasi relied heavily on numerous short samples and combining them in ways that fell into his groove; some found from others' recordings and many more recorded during the past year. We hear fragments of percussive (acoustic) objects, drums, piano, trumpet, guitar, and, of course, synthetic textures. Although there is a distinct rhythmic pulse to Aix, Ielasi manages to mold it into something wonderfully languid and warm... and strangely inviting."

Composed and recorded by Giuseppe Ielasi in Aix-en-Provence, Autumn 2008. Remaster by Giuseppe Ielasi. Cover photograph "Construction, Barcelona" by Taylor Deupree. Layout by Dan Dudarec/Marco Ciceri.

For more than 20 years Giuseppe Ielasi has been releasing his recordings on labels like Erstwhile Records, Häpna, Kning Disk, Dekorder, 12k, Entr'acte or Editions Mego, as well as on his own label Senufo Editions.

The label Keplar has been on a long hiatus and is now back with its KeplarRev series presenting vinyl re-issues of essential electronic albums from the 90's and 00's, as well as new recordings by momentous electronic and ambient artists.

Iconic cultural engineer and prolific music pioneer Daniel Miller, aka The Normal responsible for the timeless post-punk / wave classic “Warm Leatherette” and founder of Mute Records, collaborates with avant-techno artist Nicolas Bougaïeff to instigate another revolution with the inaugural release as Populist on Avi Caspi’s newly founded imprint The Temple and The Low Dive. Miller and Bougaïeff provide four purist modular techno explorations that are prepared to carry the listener into stellar dimensions. Introductory A1 track “Center” is a sophisticated, minimalist, stripped down piece with dynamic elements and a cinematic aesthetic that introduces the mood of the entire EP, defined by spectral micro movements and a touch of liquid textures.

Further navigation through the EP reveals more of the aesthetic intent while, at the same time, retaining a specific uniqueness found in each track. There is a definitive interstellar cosmic feeling throughout that brings the future back to the present and with B2 track “Temple” we discover that Miller and Bougaïeff are no strangers to a provocative and discerning dancefloor. “Temple” guarantees ecstatic dance floor moments that define experience. The digital bonus track “Dogma” continues to keep up the pace and here is what will be imminently essential for any serious purveyor of explorative techno to include in their repertoire.

This first installment on The Temple And The Low Dive gives us something that is as special as it is unique, paying homage to one of electronic music culture’s most admired artists and icons, and introducing the world to new artists and proponents of the global electronic scene, Caspi and Bougaïeff. TIP!

New York’s indie disco funk crew is back with a new album. And it’s the right moment: With new acts like Toro Y Moi, Sault, Parcels, The Internet around… the funky, disco, old school vibe is big in 2020. And The Phenomenal Handclap Band fits perfectly. Probably all these new artists are fans of the Phenomenals. Because The PHB popped up for the first time 10 years ago. Some top knotch musicians from NYC’s funk scene playing dirty discofunk. Some of the bandmembers played in Mark Ronson’s projects and in Amy Winehouse’s backing band. Head of the band: Daniel Collás. Their self-titled debut album on Gomma records 2010 made them many fans in the music scene. A nasty fusion of forward-thinking disco, psychedelic prog rock, and classic soul with a splash of yacht rock. Back then the band took the road, supporting Bryan Ferry and Franz Ferdinand, playing shows at Glastonbury, Wireless, and Latitude… as well as getting praise from Sir Paul McCartney about their album! After the album Collás began to produce other artists in Brooklyn. The band paused. Now they are back. With Daniel Collás in the centre, along with new members multi-instrumentalist Juliet Swango, and vocalist and synthesizer wizard Monika Heidemann. Their sound is still essentially analog dance music, with an emphasis on raw soul, vocal harmonies, African percussion, fuzzy guitars and analog synthesizers.

Originally put on the map by Brian From Wheaton, a passionate collector from IL - This record has been fetching upwards of £1000 from those crazy Northern Soul DJs.

Officially licensed and re-mastered. Essential modern soul dancer, now available for the world to enjoy.

ALBUM: I came up with the album title after watching a YouTube video by the channel "Watch Mojo" entitled "The Top Ten Dead Music Genres". In this video, they claimed that Synthpop is dead. Since everybody said I was a Synthpop artist, I was astonished to discover that the genre I play is considered "dead". It's relatively tongue in cheek because I don't believe any musical genre is dead and everything can be revisited and everything evolves. That being said, this is an album in which, at least musically, I am working within the boundaries of this genre, while at the same time starting to experiment with other, more modern sounds and concepts. Thematically, I tackle various topics: dysfunctional childhoods (Shortcut), heroic love in a dystopian nightmare (Billions of Years), self-destructive behaviour (Drink and Drive), unrequited, criminal love (House Arrest) and many others.

BIOGRAPHY: Glitter, glam and good vibes from the heart of Berlin! Stephen Paul Taylor (SPT) is a Canadian artist who went viral in David Bowie's old stomping grounds and has played hundreds of concerts, festivals and weddings all over Europe. He makes Synthpop-Art-Punk with undertones of New Order and Talking Heads.
Taylor was in Post-Art Synth-Folk duo, Trike, for five years before branching off into his solo project in 2014. Trike won a $20K award from "The Gong Show" (in Vancouver) in 2011, toured 22 countries, recorded an album in Denmark and Belgium and played hundreds of shows. Taylor then went solo and began playing all over Europe, from Denmark rooftops to weddings in East Germany. He gained a name for himself after achieving viral status and has continued to play all over Europe ever since. Well known for being a street musician, he essentially quit playing in the street in 2018 and focused exclusively on playing on the stage
His music is a blend of both old and new. A strong beat pulses beneath the catchy melodies and captivating lyrics float atop the whole ensemble. His bittersweet words often contrast the happy melodies within the music. He tackles unique subjects that reflect the 'ennui' our our current cultural climate. His newest album "Synthpop is Dead" is an ironic interpretation of the notion of musical genres actually "dying". Did Synthpop actually die or did it evolve? His new album also touches on other themes, from our dependance on fossil fuels to our addiction to self-destructive activities, like drinking and driving. The album uses healthy doses of humour to hammer down its themes
A year after going solo, SPT went viral with his song "Shi*t's F*cked" (His channel has 7.5 million views on YouTube) and appeared on many TV shows and well-known media outlets, from RBB to Arte to Comedy Central. He was also featured on Germany's "Das Supertalent" in 2016. He has 1.5 million listens on Spotify. He's been on the radio in Italy, Latvia, Canada and Australia, to name a few. He was also signed with Budde publishing and his racord label, "SPT Records" is a subsidiary of "Shitkatapult Records"
Dieter Bolle said his "80's influenced" music was "sehr geile" (very beautiful). Electric Six frontman, Dick Valentine, said he's "a firecracker".

Gigantic producer/DJ from Scotland, Creep Woland, lands back on the Astral Black heli-pad with his 'Chamberlain' EP. Four blistering breaks-led, club ready, jungle tracks intended as an ode to the rolling bass and rainy days that raised him. Picking up near enough where his Close Reading debut left off, Chamberlain sees a more refined and honed execution of the hard hitting electronica Woland has become known for.

Informed by the experience of playing to dance-floors, as well as educational journeys down to London for radio sets, these new tracks are fine tuned and bass heavy - perfect for existential club experiences or the driving of sports vehicles. The subdued intrigue of EP opener 'Imposter Syndrome' sets the mystical and reflective tone of the record, while down the line junglist anthems 'Medieval Draw' and '0800-Falkirk Triangle' call for slow motion gun finger. Written at a time of personal hardship and mastery of oneself, the hopeful promise of closer 'Lord Chamberlain' acts as a sonic representation of the proverbial light at the end of the tunnel of this particular time in Woland's life.

Recently, Chamberlain EP's 'Imposter Syndrome' has been receiving early radio support from Rinse FM's Jossy Mitsu & Impey on NTS, whilst his debut release Close Reading received radio support from the likes of Josey Rebelle (in her award-winning Essential Mix), Om-Unit and JD. Reid as well as critical acclaim from FACT, CLASH & Hyponik. In addition to its various accolades, Close Reading also lead to Woland being handpicked by Lanark Artefax as the opening act for his 'Enter The Gateway' performance, and has since performed alongside the likes of Om-Unit, Proc Fiskal, DJ Storm and more.

"BRUK" is a new platform for fresh variations on the soundsystem ethic, in particular where high-end sound design intersects with formidable bassweight. It's an artist-focused endeavour geared towards producers with range, depth and ingenuity in their sound.

The first transmission comes from "FFT", the latest alias from accomplished producer Josh Thompson. Thompson established the Super Hexagon label with long time friends J. Wiltshire and Arthur Scott-Geddes and he's also released on heritage label R&S (as Alma Construct) and the excellent offbeat techno upstarts Power Vacuum, and more recently developed the FFT moniker via essential drops on The Trilogy Tapes as well as Super Hexagon.Thompson helps launch BRUK with a two-pronged attack that shows off the breadth of his artistic scope.

The lead 12" is a dynamic club release that pivots between razor-sharp drum programming, hyphy synth acrobatics, breakbeat science and dub-loaded atmospheres. If there's one constant that runs through all Thompson's work, it's a resounding confidence with melody, and that comes through even in the rowdy chops of "Month" – a track that exudes hope even in its gnarliest bars. From the dreadweight minimalism of "Fask" to the expansive electronica shock out of "Sacrifice (The Truth Mix)", this is a head-twisting release that feeds into the vital new energyreverberating around the 150+ axis.

Accompanying that 12" is a cassette album which provides that polar opposite side to FFT – a collection of compelling beatless ruminations under the banner of Total Self-Fulfilment. Gliding from low frequency industrial textures to expressive synth modulation, this is far from static music, even as it moves without the aid of a traditional rhythm section.

It's a strong first chapter for BRUK, with future releases lined up from artists similarly poking at the fabric of contemporary club music to find their own unique spaces for expression.

Eklo is starting 2020 with a new record from the owner Seuil, it will be released in 2 volumes, some lost unreleased tracks put together to build this 2 parts. Here is the first one, 4 tracker, Breaks, Acid, Deep , D3 Vibe, a panel of what he likes as a Dj, great for the floor. Essential 12”

Something is stirring in downtown Tucson. That's no great surprise perhaps: Calexico have been sending out missives from the desert for 20 years now, Giant Sand for even longer than that, and the Green on Red revival is surely overdue. Let us remind ourselves that this isn't a big city in the American sense, but that its hinterland is indeed as big as it gets. For an hour south, Mexico starts. And this is where things get interesting.

Born in Nogales, Arizona, raised in Nogales, Sonora, multi-instrumentalist and band-leader Sergio Mendoza grew up listening to the Mexican regional styles jostling for headspace in a young, music-mad mind - cumbia mainly, but mambo, rancheras and mariachi too. The border is always a fierce arena of exchange, both commercial and cultural, and so there was American music too. At one point 'rock and roll, the classics', as Mendoza himself deadpans, seemed to win out and he stopped playing those 'Latin styles' for a good decade and a half.

The return to those sounds was a strong one in 2012's Mambo Mexicano, co-produced by Mendoza and Joey Burns of Calexico - a band for which Mendoza has become an increasingly integral touring and recording member. While that record had a studied air, tentative in parts (as befits the renewal of an old love affair), ¡Vamos A Guarachar! is another beast entirely: by turns raucous ('Cumbia Volcadora', featuring Mexican electronic pioneer Camilo Lara), tender ('Misterio', surely Salvador Duran's finest moment with the band so far) and plain serious fun, as in 'Contra La Marea' and 'Mapache', it also bears a robust electronic edge, a keen pop sensibility and all the hallmarks of Mendoza's love of 60s rock, with the closing track, 'Shadows of the Mind', sure to be included if anyone decides to update the Nuggets collection for the 21st century. This is roundabout way of saying that it appears to have everything, but never too much of anything. Focused, fierce and beautifully executed by a superbly drilled set of musicians, it is a record that fully matches the band's explosive live performances.

You could, of course, take the trip to Tucson yourself, to the home of this essential set of field recordings. The scene hangs out together, so ... if the stars align and their frantic tour schedules permit, you might see any number of folks from Calexico, Giant Sand or up-and-coming cumbia rockers Xixa deep in conversation somewhere in town with a quiet young man in black. That's Sergio. Right now, in this endless game of Tucson tag, Orkesta Mendoza are IT.

The Garden is another timelessly classic album from a seminal electronic band and an essential soundtrack to any laidback listening.

NORTHERN SOUL ESSENTIALS!!! 2020 finally sees the long-awaited follow-up to the mega-succesful Frank Wilson 45 in our ‘Soul Essentials’ series. And they don’t come more “essential” than The Tempests “Someday”. What a fabulous record and a top notch dancer to boot! For many, “Someday” is the Northern Soul sound of the millenium, and it is! But we have to go much further back in time to find it’s roots on the scene. Back another twenty years in fact, back to the eighties to the “discovery-city” of Stafford where it was first played to an astonished and eager audience. It was originally released as an LP-only track on the album ‘Would You Believe’ on Smash Records in 1967. And what an incredible album it is offering up a number of potential B-sides for our single: the title track, plus a very credible rendition of “Ain’t No Big Thing”, “Happiness”, “I Cried For You” and “What You Gonna Do” – all totally fantastic. But, we went with the stunningly sublime and pleading “I Don’t Want To Lose Her” dripping in tortured emotion that sends shivers across the dance floor! The Tempests were originally an all-white 10-piece outfit formed in the early-Sixties in Charlotte, North Carolina. They went through a number of personel changes over the years but by the time they signed to the Mercury owned ‘Smash’ label their unique sound featured black vocalist, Hazel Martin. It is Martin’s implouringy desperate delivery that resonated instantly with the Northern Soul scene propelling the band to iconic status. Now, over fifty years on, the two standout tracks from the album are available back-to-back for the very first time! Also available the No.1 oldie “Do I Love You” by Frank Wilson.

Two essential and eternal classics from New York Hammond legend Larry Young with vocals by the talented Linda "Tequila" Logan.

Rare groove standard "Turn of the Lights" I would hope needs no introduction, I well known album track that does actually exist on a rare promo arista 45 but it is HARD to find and goes for around $250+ when it turns up once in a blue moon (probably more now people know it exists).On the flip Linda's amazing free vocal on "Fuel for the Fire" is cut on 45 for the first time, one of those out there records you play on a good night when people are feeling open and it all comes together. I have spun both these records for over 20 years and no format surpasses the cut done here by Timmion Lab from the new Sony masters, I'm very happy I don't have to break out the album tracks any more.

Larry died in 1978 from untreated pneumonia and Linda disappeared from music apart from a few writing credits on 90s pop artist Betty Boo's tracks. If you love that voice be sure to check out her great vocal on Tony Williams Lifetime track 'You Make It Easy', great folky Jazz.

Titonton Duvante's long and more than essential Residual Recordings clocks up a fantastic 25th release in the form of a fifth volume of the famous Refraction series. This one draws on another masterful mix of names including Nachtbraker, Christopher Rau, Titonton himself as well as a rare killer outing from veteran S-Max. Reaching a milestone in style...

Nachtbraker opens the EP with a swirling house cut that is riddled with FM bass, twinkling keys and balmy pads that reach for the heavens. Christopher Rau goes for a more raved up house cut with feel good energy chords but a nice deep bassline and pensive synths on his Give It. Titonton does as he does best - keeps it deep, loopy yet driven, with a slick tech cut that is dubbed out and perfectly atmospheric as well as being hugely infectious. Last of all, S-Max comes correct with the slick boom bap of his stripped back house roller Lil' Lightyear Wants to Ride, with its dreamy pads and sci-fi feels.

Residual is by now, and for many years been a key label for lovers of tasteful house, as this latest collection proves they are showing no signs of slowing down.

Massaroni Record (MSR) was born with the collaboration between the distributor Ermanno Massaroni and the disc jockey Roberto Onofri, who was also a radio and television presenter. "Let's Go Out" captures the essence of the very first Italo-Disco in its most genuine and melodic form where it's not easy to understand the vocal part but this gives to the song a certain ambiguity and a rare case in which the vocoder is fine. In addition to original, radio and the essential instrumental version there is a well structured and strong M.B. Roller Disco Edit by Massimo Berardi (former Harlem Hustlers) useful to give greater balance to the entire release.

In October 2018 DJ Rocca and Almunia member Leo Ceccanti joined forces to deliver “Rhythm Collision”, a three-track EP of jangling, sun-kissed grooves, psychedelic dub disco and Afro-Cosmic flavours on Really Swing. 18 months on, one of that set’s standout cuts has been given a new lease of life courtesy of fellow Italian producer Alessandro Pasini AKA Deep 88. Since making his debut a decade ago, Pasini has earned a reputation as one of house music’s understated heroes – an artist whose hardware driven, retro-futurist take on deep house tends towards the timeless, melodic and atmospheric. With a deep love of turn-of-the-90s dream house, Larry Heard productions and sun-baked chords, his dancefloor-focused productions have often been called Balearic.

It’s perhaps fitting then that his reworks of Rocca and Cecanti’s “Ever Changing Bubbles” are as Balearic as they come. His “Balearic Mix” sets the tone, with Pasini layering trippy, dubbed-out and ear-catching elements – Ceccanti’s eyes-closed electric guitar solos, jangling acoustic guitar chords, warm dub disco bass, echoing spoken word samples, fluttering flute solos, drowsy organ motifs and the pair’s delay-heavy vocals – atop a crunchy, head-nodding, live style beat. While it deviates from the duo’s original version, it inhabits a similar sonic space – albeit in a more dancefloor-friendly way. Pasini excels himself on the accompanying “Balearic Dub”, stripping the cut back to its raw essentials – drums, metronomic bass –while toughening up the percussion and adding delay-laden instrumental snippets. It’s warm, woozy and otherworldly, with echoing voices, tactile musical motifs and restless delay trails combining to create a suitably hazy and intoxicating mood. By the time the touchy-feely flute and acoustic guitars begin to dance across the sound space, you’ll be lost in the groove and too happy to notice.

What can be said about this monstrous Disco Funk extravaganza from 1982? Well, plenty actually... the only entry in the mighty Prelude back catalogue from Michael Wilson, 'Groove It To Your Body' is what this music is all about, a proper dance record, drenched in the funk, a groove that just doesn't stop.

The A-side is incredible, but it's really the b-side dub mix that steals the show. Francois Kevorkian, who was Prelude's A&R man at the time, mans the desk on both mixes, but for a truly stellar work-out the dub flips all of the essential ingredients into a stew of rumbling synth and tape feedback and deep space delay and echo.

This mix could be seen as the template of what was to come, and is an all-out dancefloor wrecker. Try it! It doesn't get any better than this.

A Disco essential. 2nd hand copies of this nugget go for serious wedge these days, now's your chance to snag an *official* licensed reissue from Prelude direct. All totally Above Board! Do it!

Apparel Music is the platform, Chevals the protagonist, vinyl the material, end of March 2020 is the period of time decided for the landing of the Frenchman’s first solo body of work for the “lovers dogs” label. “Be Yourself” is the title of the four tracks EP by the artist which, by the headline itself, sounds like a declaration of intentions, an acknowledgement of his qualities as a producer, shaping up four different aspects of his creative attitude in a remarkable musical effort. The EP takes off with the title track which is a perfect display of Cheval’s capabilities when it comes to the art of developing intersecting harmonies and melodies, setting up the perfect ground for a smooth vocal line that keeps on repeating the concept in a hypnotic loop: “just be yourself”! With “Keep On” the Bpm increases to design a beat driven track that winks to northern European rhythmics in an apotheosis of upbeat acid lines, a vibey overlapping of loops we advise against light-sleepers! Side B starts with a more rhythmically classic composition called “Good Good” which is also the last of the three original tracks; here the strings section mashes up with the vocals, as usual expertly crafted by Chevals and again some hints of acid bass line to form a proper dance floor hit. B2 is dedicated to Madcat’s remix of “Good Good”, where the French producer explains his point of view with a more funky oriented version of the track but keeping the essential parts intact. Impossible not to be excited by this EP by the Parisian producer who finally slams his fist on the table in what is his best musical statement so far. Bare with us until the end of March to listen to this pearl.

Unreleased album from 1981, a collaborative project by David Behrman, Paul DeMarinis, Fern Friedman, Terri Hanlon and Anne Klingensmith recorded at Mills College in 1981.

Previously known only to cognoscenti through an obscure self-released three-track 7”, this is the first publication of the complete album, an outrageous confection that mixes art-song and theatrical monologue with live electronics. Starting life as a performance art piece described by the artists as ‘Western Performance Noir’, the record centres on a series of texts written by Friedman and Hanlon in which female narrators comically embody a series of iconic roles (The Recording Artist, The Former Movie Star, and The Rancher). Other lyrical themes include recurring references to the notorious cannibal pioneers, the Donner Party, an ironic take on Japanophilia, and the luscious “Archetypal Unitized Seminar,” a satirical poke at self-help culture, whose lyrics are rendered in Indian raga style to the accompaniment of electronic glissandi and toy noisemakers. Delivered by Friedman, Hanlon, Klingensmith and special guest Maggi Payne in forms ranging from spoken monologue to Country & Western waltz, the texts are accompanied by instrumental and electronic contributions by Behrman and DeMarinis. Musically, She’s More Wild is truly unique, demonstrating these two pioneers of live-electronic performance adapting their signature processes to something approaching a ‘pop’ format: we hear the gliding, frequency-sensitive electronics familiar from Behrman’s classic On the Other Ocean and the mutant hacked Speak n’ Spell heard on DeMarinis’ Songs Without Throats propelled by drum machines and twisted into song forms. Perhaps comparable only to the David Rosenboom and Jacqueline Humbert’s contemporaneous Daytime Viewing in its interweaving of performance art tactics, high-tech electronics and pop sensibilities, She’s More Wild is an essential document, both immediately gratifying and ultimately thought provoking.

12". LP pressed on 140g Vinyl.
Stealth Mission returns for it's fourth drop with four tracks of red-raw cuts from Postbhuman, Naked Eye People, HVL pres. Kiyadama and Do the Du. Also fearturing a Ben Sims edit, this is essential dancefloor weaponry.

Kareem Cali & LaRosa link up for a debut EP on Sidney Charles's hard hitting Heavy House Society this March, while groove master Nick Beringer serves up a superb remix.

Kareem Cali & LaRosa have linked many times before on originals and remixes that have helped define the house agenda in recent years. They have a laid back but warm style that is functional but full of subtle detail and studio charm.

Opener B21 is a brilliantly off-kilter tune with warped synths and tripped out details all making it perfect after party fodder. The drums are driving underneath it all, so will be irresistible to the floor. Over Ground is more stripped back but just as punchy, with rubbery kick drums and squelchy synths making for a hugely dynamic groove that is infectious and restless.

Rubisco label owner Nick Beringer then steps up after establishing himself as a real underground talent thanks to cult EPs on the likes of Raum, Berg and Taverna Tracks. His version is perfectly hazy and dazed. The balmy pads swirl around like a warm wind, the hi hats are delicate as they spin above the kinetic kicks, and the whole thing oozes warmth and class.

This is another essential EP from this already standout label.

This is an essential part of the legacy of the White Stripes!

First vinyl reissue of this fantastic 1981 album by Marcos Valle, one of the essential artists of Brazilian music.

Recorded in Brazil after spending the late 70s in the US, Marcos Valle brought together his innate talent and diverse influences on this irresistible record bursting with groove. Among a selection of top musicians, the line-up features Sivuca, Chicago's Peter Cetera, Robson Jorge and Azymuth's Jose Roberto Bertrami. Presented in facsimile artwork and pressed on 180g vinyl. A Record Store Day release.

The compilation "Celestial Birds" reveals and focuses on the widely unkown electronic compositions of the AACM founder and jazz pianist MUHAL RICHARD ABRAMS. #5 in the Perihel Series, curated by zeitkratzer director REINHOLD FRIEDL.

Anybody interested in jazz knows that Chicago has always been an impressive hot spot for new talents – and still is. One essential landmark in the history and development of jazz was the founding of the AACM (Association for the Advancement of Creative Musicians) in May 1965. This non-profit organization was a melting pot (and starting point) for artists like ANTHONY BRAXTON, ROSCOE MITCHELL, GEORGE LEWIS or LESTER BOWIE and his ART ENSEMBLE OF CHICAGO but one of its actual founding members is known only to the deep connaisseurs: MUHAL RICHARD ABRAMS (1930 – 2017).
The autodidact pianist and composer left music school and university, deciding to learn music by himself.

From 1961 on, the EXPERIMENTAL BAND was his first ensemble, but it soon turned out that ABRAMS' interests went beyond jazz and that he was open to the avant-garde and new music and most of all: electronic music. Which led to a double problem: On the one hand, black musicians had almost no access to the rare electronic music studios located in and funded by universities or broadcasting corporations. On the other hand, there were strong reservations regarding electronic music in the black music community.

In his important book "A Power Stranger Than Itself – The AACM and American Experimental Music" GEORGE LEWIS writes that "the use of electronics … proved controversial and widely misunderstood in a world of jazz in which acoustic instruments became conflated with musical, and eventually, cultural and even racial authenticity." ABRAMS' response was to actually "hide" his electronic pieces on the B-sides of his albums, and this compilation focuses on some of his best electronic experiments: the 22-minute long epic "The Bird Song" from 1968 in its original version incl. the reverb that was removed on the later CD reissue on DELMARK, the synthesizer compositions "Conversations With The Three Of Me" (1989) and "Think All, Focus One"1995) plus " Spihumonesty" (1980) with a 2nd synthesizer played by GEORGE LEWIS and YOUSEF YANCEY on theremin.

"Celestial Birds" casts a new light on the underrated experimenter MUHAL RICHARD ABRAMS, his innovative approach to composition and pieces that lay dormant for way too long!

The first Be With foray into the archives of revered German library institution Selected Sound is one of our favourites on the label - the super in-demand Japan from Victor Cavini, originally released in 1983.

Rare and sought-after for many years now, this is one of those cult library LPs that never turn up. With Daibutsu the giant Buddha of Kamakura’s presence gracing the hefty front cover, this is a record bursting with dope samples for adventurous producers: it’s koto-funk madness!

Victor Cavini was the library music pseudonym of prolific German composer and musician Gerhard Trede. He was known for exploring instruments and styles from around the world (he played over 50 different instruments himself) and Japan is
his collection of 14 musical sketches painted with traditional Japanese wind and string instruments. These are the sounds of traditional Japanese folk music re-interpreted through Western ears, with the occassional contemporary twist. Contemporary for 1983, of course.

These “Pictures of Japan” are hypnotic, sometimes frantic, but always beautiful. The first twelve tracks offer airy explorations of koto and flute, with other strings and percussion being added and then given their own space. Indeed “Pictures of Japan XII” is just drums.

And then “Pictures of Japan XIII” seems to come out of nowhere. But the subtle sleaze of its full band sound still doesn’t quite prepare you for the towering climax of “Pictures of Japan XIV”.

This is Japan’s undoubted standout piece, completely and wonderfully at odds with the rest of the album. It’s the reason this has become such a must-have record. It keeps the traditional Japanese instruments but combines them with shuffling funk breaks, electric bass high in the mix and a Godzilla-sized psychedelic fuzz guitar sound that might actually be a traditional reed flute pushed to its limits. Whatever it is, it sounds awesome.

Recalling both Rino de Filippi’s Oriente Oggi and Giancarlo Barigozzi’s Oriente, the track’s a real head-nod groove for b-boys and b-girls alike that sounds straight out of a late 70s Yakuza film. Indeed, if you were told The RZA or Onra had cooked this up in the lab this century, you’d be convinced. It’s crazy that this dates from 1983.

The audio for Japan has been sensitively remastered for vinyl by Be With regular Simon Francis to keep all the character of the original recordings. Richard Robinson has handled the careful restoration of the original Selected Sound sleeve. Essential.

Hugh Masekela and Miriam Makeba’s double-bill Lesotho concert was a daring, defiant and ultimately dazzling act. For the first time since its limited release in South Africa in 1981, Matsuli Music is proud to re-issue this gem of a pan-African, funk-infused, extended audio double album with unpublished photographs and new liner notes from Atiyyah Khan. The Christmas-weekend stadium-filled concert deeply challenged and disturbed South Africa’s apartheid regime. Makeba and Masekela were banned from entering South Africa, yet tens of thousands of their South African fans invaded Lesotho to party with their musical heroes. Live in Lesotho documents an inspired Hugh Masekela and his stellar New York band putting a new spin on crowd favourites. Another South African jazz gem from Matsuli Music’s growing catalogue of essential high-quality reissues. For an artist as prolific and famous as Hugh Masekela, it is a real surprise that this particular recording took so long to resurface.

ISAN’s Robin Saville reveals an ambient album, which merges the Electronica aesthetics of his main project with field recordings, drones and acoustic instrumentation.

A lot of things have been written about what happens to the mind when the body starts moving. Instead of reciting poems of the inevitable self-help books, let’s get straight to the point: For many, taking walks on a regular basis is both liberating and empowering. It is not necessarily so much about the exercise, but rather finding one’s own rhythm in life. Robin Saville – of ISAN fame – is such an ambler His walks inspired him to base his third solo album – his first one for Morr Music – on the out of the way places he came to see and experience while being out and about.

Clocking in at just under 40 minutes in total, "Build A Diorama" is both a subtle culmination and a poignant antipode to what Saville has achieved together with Antony Ryan as ISAN. While the aesthetics might seem similar in places, Saville opts for a decisively different pace when it comes to writing and producing. Progress is steady, and change, however, is slow – like looking at a diorama for a long period of time in the ever so slightly changing light or as a flaneur focussing on one particular spot, a found object so-to-speak, waiting for the mind to orchestrate it appropriately, giving it sense and meaning.

Built around quiet field recordings, Saville’s six compositions transform this highly personal and, therefore, difficult-to-convey experience into a comprehensible exploration of beauty. Where ISAN almost exclusively uses electronics, Saville deliberately expands this well-established palette with acoustic instruments like bass guitar, chimes and glockenspiel, aiming for an even more suitable musical manifestation of what the walker sees and feels once he fully engages in his passion. Ranging from blissfully pulsing pads allowing for complete associative freedom ("The Deepdale Halophyte Economy") to the playful minimalism of an orchestra dominated by busy bells ("Bosky"), Saville’s "Build A Diorama" is not just a valuable addition to his musical output, but an essential audio guide for those striving to explore, learn and understand.

Repress

Kali Malone presents a quietly subversive new album featuring almost two hours of concentrated, creeping organ pieces governed by a strict acoustic and compositional code. It’s a major new work with ultimately profound emotional resonance.
‘The Sacrificial Code’ takes a more detailed approach to ideas first sketched out on last year’s ‘Organ Dirges’, which featured canon exercises spontaneously captured without much prior technical planning. By contrast, the recording of ‘The Sacrificial Code’ involved the more careful micing up of several organs in such a way as to eliminate acoustic impurities as far as possible - essentially removing the large hall reverb so inextricably linked to the instrument. The pieces were then performed free of gestural adornments and without expressive impulse - an approach that
flows against the grain of the prevailing musical hegemony, where sound is so often manipulated,
and composition often steeped in self indulgence. The question posed; can this strict methodology still speak to the listener in meaningful terms?
The answer is both obvious and entirely surprising; with its slow, purified and seemingly austere qualities ‘The Sacrificial Code’ guides us through an almost trance-inducing process where we
become vulnerable receptors for every slight movement, where every miniature shift in sound becomes magnified through stillness.
As such, it’s a uniquely satisfying exercise in transcendence through self restraint - a stunning realisation of ideas borne out of academic and conceptual rigour which gradually reveals startling
personal dimensions. It has a perception-altering quality that encourages self exploration free of signposts and without a preordained endpoint - the antithesis to the language of colourless musical platitudes weíve become so accustomed to.

Album features Ernie K Doe’s ‘Here Come The Girls’, The Meters, Eddie Bo, Professor Longhair, Lee Dorsey, Wild Magnolias and more.

This is the definitive collection of New Orleans Funk featuring acknowledged masters next to some of the earlier artists who shaped the meaning of funk. The album is also filled with many rare, sought after and undiscovered funk tracks. It covers the period from the emergence of New Orleans Funk in the early 1960's through to the mid-seventies.

The record is an essential part of anyone in any way interested in Funk's record collection. It has some vital ingredients in it that you can't find elsewhere. With the sound of the New Orleans Funeral March Bands, Mardi Gras Indian Tribes and Saturday Night Fish Fries all as inspiration New Orleans Funk developed into a unique sound.

New Orleans is a port town. Originally owned by the French, this was where many slaves were brought from the West Indies. Many of these slaves came from Haiti and brought with them the religion of Voodoo and its drums and music. It became one of the first parts of America to develop a strong African-American culture leading to the invention of Jazz in the early 1900's.

A main feature of Jazz in New Orleans were the Jazz Funeral Marching bands. Solemn Brass bands accompanying a coffin would, on burial, be joined by a second line of drummers and dancers which would turn the event into a celebration of the spirit cutting free from earth. This African tradition is strong in New Orleans and still goes on to this day. The backline drums play a syncopated style that is neither on the beat nor the off-beat. It is these rhythms that are the basis of New Orleans Funk.

The album comes with a booklet presenting a historical explanation to how and why this music came about, and with lots of information about the people involved.


Reviews: "A Perfect Primer For Funk Fans" Q (Top 5 albums of the year). "Probably the finest compilation that Soul Jazz has released. Essential" Time Out.

Peter Brown is one of the ultimate in Harlem underground music business entrepreneurs. From the 70's, all through the 80's he had a stream of releases on a plethora of labels, but ultimately under the
P&P banner. From soul, to disco to the birth of hip hop, he covered all the street sounds of New York and in a series of comps Demon are exploring his legacy. P&P soul and funk covers the 1970's with a number of rare, sought after masterpieces and some
equally essential obscurities.

From the former category we have the magnificent ESP by Four
Below Zero, Dennis Mobley's Rare Groove instrumental version of Superstition and Florence Miller's soul floor filler 'The Groove I'm In' Super rare funk is present from Wild Honey, Smokey Brooks and Flame & The Sons. The roots of disco is well represented with Magnetic Touch's original version of Ain't No Big Thing and Ella Hamilton's I'm Gonna Fool You.

Producer duo Hudson Mohawke and Lunice stare at the moon for too long, get abducted and return just in time to deliver their second EP ‘II’. Following the release of the mysterious ‘Serpent’, a lunar chart that was decrypted by fans in minutes and a dangerous Radio 1 Essential Mix, TNGHT’s crescent moon is appearing once again from behind heavy clouds. It has been seven years since Hudson Mohawke (Ross Birchard) and Lunice’s (Lunice Fermin Pierre II) prodigious debut which accidentally changed the sound of the pop music caught in its wake. The pair of bedroom-producers-cum-superproducers hail from Glasgow and Montreal and have aligned once again on a record which aims to chew up and spit out every influence across a single 12”.

'Destiny71z' returns with his second EP for Eglo Records, a further dark and jazzy exploration through an array of analog hardware, focusing on the Buchla music easel and a stacked modular set up. Raw and unpredictable the EP fizzes and pops across 4 tracks, drawing on the influences of House, Techno, 2-Step and Electro, synthesizing it into something much harder to pigeonhole.

The project is the alter-ego of multi instrumentalist, painter and producer Mathew Kirkis, who recently supported Floating Points on his solo UK/EU live tour. These four dance floor meditations express
a talent well beyond the conventions of traditional club music, it's as much music for the mind as it is for the body.

From the stuttering acid fried 2-Step Techno of 'Technique ZSL' and the shimmering space like odyssey of 'Suckmyskin' to the swirling House steppers 'Dimdraft' and 'OmegaTX', the EP surprises at every turn. Essential listening for fans of Legowelt, Floating Points, Pepe Bradock et al.

After well received releases on Shadeleaf, Dead Horse and Hot Peas And Butter last year, Preston's finest soul brother Simba comes through Quintessentials with the 'Box Room Perspective' EP.
Leading the way is „Can You Free Me?“ featuring the beautiful vocals of Maddie Ellerby taking a distinct soulful flex a la Kerri Chandler.
The dub takes things a lil deeper for the heads stripping back to the essentials much like a Matthew Herbert dub. On the flip we have „True“, what has been described as „90's Planet E meets Broken Beat“, an excursion between the lines of house, disco and techno.
It’s hot up north!

Concealed within the eclipse, Overdue presents a new black-label 12" series - symbolic of its sinister auditory contents.

Further proof of their unbridled dedication to sound system music and commitment to quality, the Belgian Dubstep imprint unravels
it's fifth physical release. Based in Denver, its newest signee by the name of Ghast returns to the spotlight, following up on heavyweight releases on prominent labels such as Encrypted and Gradient Audio.

The talented American artist sets the stage with two unruly armaments, alongside murderous remixes by Denmark's bass music stalwart RDG as well as the label operators themselves, Substrada & Caba.

Starting the engines, 'Mothership' immerses the stage in flickering echoes and haunting wails - the air bustling with anticipation. Eerily disfigured, granular reverberations materialize amid a pressurized and truly outlandish soundscape, barren at its core. Heading into the second section with renewed vigour, no dance floor remains unscathed in the ensuing aftermath.

The subsequent doomsday scenario, as engineered by Substrada & Caba, strips the ship to its bare essentials - laced with trippy drum instrumentations and the psychedelic foley samples. The meticulous flow presents itself in a bleak dungeon style - hoodlum vocal fragments rounding off the resulting low-frequency inferno.

Flipping the record to its equally profound B-Side, 'Vehement Mess' unhinges another portal into madness - dance floor upheaval guaranteed. Showing no signs of mercy, the infernal armagedon proves to be emblematic for Ghast's dystopian sound design. Profusely industrial and with clinical efficiency, hitting all the right frequencies as the second wave ignites but all available power reserves.

Finishing off any remaining survivors with his irreproachable signature style, RDG's remix marches onwards with unrestrained might in a four-to-the-floor fashion - super-charged, galvanizing the rave in a no-holds-barred shutdown.

We are privileged to explore on this essential LP a plethora of Dr.
John's earliest and most satisfying recordings. The unique mixture of styles on display is drawn from the music he grew up listening to in the clubs of the Deep South, where he first practised his (witch) craft. The combination would impress many other musicians, including the Rolling Stones and Jools Holland, himself no mean boogie pianist.

This double 10" vinyl features some absolutely enormous remixes that are not to be missed! Hamilton (Dj Ham) steps up to the plate and delivers a blisteringly dark remix of an already dark tune. Tough and rough, this one has a bassline that shakes the speakers to death and is built to last in his customary RAM records style.
Abyss gives us a glorious old skool drum and bass remix, in line with the 1994 sound, full on amen cuts, heavy sines and deep atmospherics.
Lowercase and Psycangle move the whole track into early 90's Ruffneck Records / Malice territory, with a furious old skool gabber remix, hard as nails and noisy as hell.
But perhaps the best is saved for last, because Sunny & Deck Hussy do the near impossible and take a dark tune and flip it on its head, making it euphoric and deep without losing the essential character of the original.

Club / DJ Support
Shimon, Andy C, Randall, Ray Keith, Chase 7 Status, Zinc, Jack Frost, Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder and many others