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40 mins of brexit gush from the Hair & Treasure crew. Recorded live at Archers Tower in 2019 at the frenzied soapy
heights of the media whoopee shit pie.

‘’Just the right amount of glue.’’

Rating 2.9.’’

Following Jaguar Mirror [c.2016] and Night School Of Universal Wisdom [c.2017], psychonaut Thunder Tillman and his personal shaman Pontus deliver another sublime EP, completing an illustrious trilogy with arguably their most expansive work to date, Condor Sunower. The title track is emotionally overwhelming, a drum procession that carries a righteous battle hymn to epic heights, accumulating primitive instrumentation, ceremonial chants, emotive chord changes and Beach Boy harmonies before exiting on a tear-jerking coda. The intermediary track Sväva is just as vulnerable, a modestly-arranged and leisurely-paced lullaby, where angels coalesce with a droning organ and eventually unfurl into the warm glow of rapture. Before we hit rock bottom, Thunder and Pony halt the elevator, abandoning any sense of melancholy and climbing to new heights with Creation Discoteque, an 11-minute Prog beast that chronicles a myriad of their musical adventures. This retrospective of altered states does seem designed to drop the curtain on their meticulously-crafted narrative, but not without foreshadowing their future and throwing in an air-shaking rave-up that sprints toward the nish line. What we nd enviable, spanning 3 glorious Thunder Tillman EPs and short lms, is the duo's creative simpatico, something that many artists in collaboration never truly behold. It's not their joint musical intuition, their intrinsic understanding of one another's craft, or even the power of their improvisational tether, but their spiritual alliance that nobody can touch. It's as if they share a tandem bicycle ride on the highest plane of consciousness to lounge in the members-only spa where they telepathically discuss secrets of high-grade musical alchemy

"After a deceptively quite 2017, Especial picks up the pace pace by welcoming back the peroxide, youth filled Fairplay (re)version and a 2nd EP of old-skool-meets-the-new-school flavoured House and Breaks to lock, jock and spin.

After the criminally overlooked 'How Do You Like Me Now' EP - how is Classic Version not a...classic...version - Junior gets back on the (lino) floor. The EP starts with a look north to the 'other city of 7 hills' that birthed a Warp'd British retake on House in his bleep-dub ode, End Of Love. The autobiographical title belies a forward approach with his trademark echobox kick'n'hats underpinning uplifting keys and nodding bleep finger solo.

Who to join the party then, than another man of mystery, Roy Of The Ravers. After his debut EP on sister label Emotional Response became a most played from Aphex et al, it is only right bring him to E'Special. His brooding, hoover rush Remix 1 heightens the vibes with a heads down bleeping half-steppa. Righteous!

The flip is given over to Junior's roots, bringing the hip-hopper back with the anthemic The Shazsquatch Goes Back Into The Woods. No shoc(k) horror here, just more upwardly mobile breakbeat meets UK techno licks. You can hear Fairplay at one with man and machine, pushing a sound that looks back but most definitely goes forward with 'Sunrise' on the mind.

To close is the swagger of EP title cut, Faxes From The Future. Hair of the (black) dog fuses a swinging break with proto-dub-meets-Giallo stylings to rework the senses and say, now is (still) the time!

A return to making the noise while keeping tongue planted firmly in cheek. What are u like Top. Buzz."

Following the recent reissues of Jose Mauro's Obnoxius, Piri's Voces Querem Mate and Victor Assis Brasil's Toca Antonio Carlos Jobim, Far Out Recordings presents a second album from Victor Assis Brasil from the treasure trove of the Quartin Records catalogue, Esperanto. Over the course of the 1960s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato, Quarteto Em Cy, Baden Powell and Vinicius De Moraës. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year. These singular gems in Brazilian music, difficult to categorise yet compellingly beautiful, have for too long gone unheard.Gifted his first saxophone by his aunt at the age of fourteen, only four years later the inherently gifted and determined young musician Victor Assis Brasil recorded his debut album, with a second to follow only a year later. The prodigious young carioca was subsequently granted a place to study at Berklee College of Music, where he played alongside the likes of Dizzy Gillespie, Clark Terry, Chick Corea and Ron Carter. It was also during this period he recorded Esperanto and Toca Antonio Carlos Jobim with Roberto Quartin, upon returning to Brazil in the summer of 1970.Recorded in the same sessions as the Toca Antonio Carlos Jobim album, Esperanto consists of five deep jazz cuts: original compositions except for a heavy-swinging latin-jazz cover of Jimmy Heath's 'Ginger Bread Boy', alongside more moments of wild frenetic jazz, like 'Quarenta Graus A Sombra', amongst more melancholic, but no less captivating compositions like 'Marilia' and 'Ao Amigo Quartin'. Esperanto's influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin's perfectionist approach to sound elevating the already incandescent music to divine new heights. The band consists of some mercurial greats of Brazilian music: Dom Salvador (bass), Edison Machado (drums), Helio Delmiro (guitar) and Edson Lobo (Bass).Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point his status was already cemented as one of the most talented musicians in Brazil's history.