Pop & Rock News

Upon its release in 2017, Bell Witch's Mirror Reaper cemented the Seattle duo's status as one of doom metal's most formidable acts. Its single, monolithic track also served as a tribute to the band's former drummer Adrian Guerra, who tragically passed away the year before.

Five years earlier, on the back of a highly praised demo, the band released their debut album, Longing. Featuring the original line-up of Dylan Desmond and Adrian Guerra (RIP), the album was recorded by Brandon Fitzsimons (Wormwood, Samothrace). It is a time-stretching journey through darkness, pain, and suffering, and doomed minimalism that is now considered a classic of the genre.

Originally released on CD by Profound Lore in 2012 and on vinyl by The Flenser, the vinyl edition has been out of print for several years until now. The Flenser offers a new pressing of this timeless masterpiece. Longing is packaged in a thick, old-style case-wrapped gatefold jacket with printed inner sleeves.

Upon its release in 2017, Bell Witch's Mirror Reaper cemented the Seattle duo's status as one of doom metal's most formidable acts. Its single, monolithic track also served as a tribute to the band's former drummer Adrian Guerra, who tragically passed away the year before.

Five years earlier, on the back of a highly praised demo, the band released their debut album, Longing. Featuring the original line-up of Dylan Desmond and Adrian Guerra (RIP), the album was recorded by Brandon Fitzsimons (Wormwood, Samothrace). It is a time-stretching journey through darkness, pain, and suffering, and doomed minimalism that is now considered a classic of the genre.

Originally released on CD by Profound Lore in 2012 and on vinyl by The Flenser, the vinyl edition has been out of print for several years until now. The Flenser offers a new pressing of this timeless masterpiece. Longing is packaged in a thick, old-style case-wrapped gatefold jacket with printed inner sleeves.

This special limited edition DAVID BOWIE 7" picture disc, is a double A-side of the radio edits of 2018 versions of ZEROES and BEAT OF YOUR DRUM. Both tracks are from NEVER LET ME DOWN (2018), a new version of the 1987 album featured in the forthcoming boxset LOVING THE ALIEN (1983-1988) which is released on 12th October. 
 
NEVER LET ME DOWN (2018), is a new production of Bowie's final 'solo' album of the '80s. Producer Mario McNulty worked on the tracks at Electric Lady Studios in New York with longtime Bowie musicians Sterling Campbell (Black Tie White Noise, Outside, 'hours...', Heathen, Reality and The Next Day) on drums, Reeves Gabrels (Tin Machine, Black Tie White Noise, Outside, Earthling and 'hours...') & David Torn (Heathen, Reality and The Next Day) on guitars and Tim Lefebvre (Blackstar) on bass. 

ZEROES, the lyrics of which reference Prince's Little Red Corvette was Bowie's salute to the '60s. He described it as 'The ultimate happy-go-lucky rock tune, based in the nonsensical period of psychedelia'. Mario McNulty commented, "Stripping this song down to its core revealed a track that could have been right at home on Hunky Dory, I kept Peter Frampton's sitar (which was originally owned by Jimi Hendrix) as it still fits against the new guitars from Reeves Gabrels'. 

Of BEAT OF YOUR DRUM Mario McNulty says, 'David Torn's ambient guitars start the song that now lead into a much darker world than its shiny predecessor. David sang all the backing vocals on this which I have kept.'



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In 2007, the Australian trio Drunk Elk recorded a singular self-titled cassette for Sean Bailey's Inverted Crux label. Despite limited release, the album circulated through the freakier channels of the international underground via bootlegs, private downloads, and whispered praise. While Drunk Elk has since spawned a string of equally powerful releases, this first album remains exceptional. It is a snapshot of the band in embryo, exuding the kind of vulnerability only achieved when nobody else is listening.

Drunk Elk was recorded in Battery Point, a coastal suburb of Hobart, Tasmania, where deep harbors and heavy skies set the appropriate backdrop for the band's peculiar strain of moody, romantic repetition. With keyboard, bass, and singer Dave Elk's devotional verse as the only instrumentation, the songs are by nature skeletal, but they somehow ooze a luminous melancholy. Sam Acres wrings delicate melodies from the cheapest keyboard presets. Simon Kraus's bass lilts in and out of time with a blunt, buzzing tone. Dave Elk's sings with an exalted pathos.

Drunk Elk is elegant even in their clumsiness. They hit all the wrong notes at the right moments. Homespun shambles are rendered with strange finesse and a dark, poetic extravagance. When Dave sings Play that strange tune again / That off-key melody, I believe he is singing as his listener--confounded by the music's strangeness, but captivated by its curious charms.

The British singer/musician Steve Overland is active in the music industry for over 30 years, both as a member of different bands as in his own group Overland. His third solo album Epic is shortly released after recording with his other project, FM. Steve Overland teamed up with Christian Wolff (Moratti) and the duo Mike Slamer and Billy Greer. This AOR album is recognizable for the melodic rock parts by Mike Slamer and the cast of musicians he is working with. Steve's soulful urgings are backed by some harmonically vocal parts. The variation is created by bringing in some influences from the blues.

Steve Overland recorded over 20 albums with bands like FM, Shadowman, Groundbreaker and his own group Overland.

The American metal band Soulfly is led by former Sepultura frontman Max Cavalera. Prophecy is their fourth album and consist of world music influenced songs. During the time Cavalera spent in Serbia he began to get impressed by spiritual themes. He recruited a new line-up, including David Ellefson of Megadeth and Bobby Burns of Primer 55 on bass guitar and Marc Rizzo, formerly of Ill Niño, on guitar. The album is heavy and got some riffs that remind us of his time with the band Sepultura. The introspective songs sounds more like a fusion between metal, dub and tribal. It's an album with different faces, which makes it a real Soulfly album.

Soulfly is formed in Phoenix, Arizona in 1997 by Sepultura frontman Max Cavalera. Their combination of Brazilian tribal sounds, world music and metal makes them unique in the contemporary music scene.

Prophecy is available on vinyl for the first time as a limited edition of 2.000 individually numbered copies on gold & black mixed coloured vinyl. The package includes a 12 page booklet.

The Oxford based alternative rock band Swervedriver released their third studio album Ejector Seat Reservation in 1995. Despite the little promotion and disappointing sales the album is widely considered as one of their strongest records. While listening to this record you'll hear the true quality of this hidden gem. Besides the alternative rock the shoegaze and even bluesy influences are woven into their music. The fusion and variety of the songs which they recorded for this album are a little less on the shoegaze side compared to their previous two albums Raise and Mezcal Head. Ejector Seat Reservation is the band's most complete record, best experienced as a whole.

After splitting up in 1998 Swervedriver reunited in 2008 for touring purposes. After seventeen years they released their fifth album I Wasn't Born to Lose You.

The Ejector Seat Reservation package includes a 4-page booklet and is available as a first pressing of 2.500 individually numbered copies on coloured (silver & black mixed) vinyl.

One thing The Vryll Society aren't short of is admirers, Lauded at just about every turn by press and public alike, the release of their debut LP for Deltasonic Records is hotly anticipated thanks to the promise this band have shown through their live sets and recent single releases.

Discovered and nurtured by the late and much missed Deltasonic founder Alan Wills, they fitted the type for him perfectly. He instantly saw in them similar attributes he'd previously found in the early days of The Coral and The Zutons. The confident swagger, the solid union formed by their band-of-brothers gang mentality, their willingness to stand outside the conventional and often stifling jangly Liverpool scene, and the work ethic. Always the work ethic.

Wills instilled in The Vryll Society something which has become over the ensuing years a key element of what they are, what they've become, and of the music they produce. He gave them belief. A belief that hard work and determination will bring them to the place they wanted to reach.

'Alan taught us that all you need to conquer the world is a rehearsal room, your instruments, a good work ethic and a positive attitude and you'll get there. He kind of taught us the rules and the attributes that you need to have to be successful so we've just continued on that path' says frontman Mike Ellis.

Ellis has stated that it was that attitude and that work ethic which got them through the subsequent tragic loss of their friend and manager in 2014, driving them forward through those times, propelling them to harder work, and bonding them even closer together as a unit.

That unit have spent the intervening time creating and honing their own brand new-psych sound, and building up a fanbase with their superlative live shows. Drawing from an eclectic palette of influence from deep funk to Krautrock, electronica and prog, they've created a heady, intoxicating, pin sharp, and tightly wound mellifluous groove, washed over with cyclical motifs, acres of effects laden guitar hooks, and shimmering, textural technicolour soundscapes. It is at once blissful, dizzying and madly infectious. It's that eclecticism, that kaleidoscopic swirl of influences which brings together hip hop flavours, with the prog stylings of names such as Aphrodite's Child and The Verve - pre Urban Hymns - when the drugs were still working. The dynamic leaps and folds through all these influences is where you find The Vryll Society's own brand perfect pop. Its all there in the loops, in the hooks, the drive and the vibe of this unique band. But this isn't frippery, these aren't throwaway cheap thrills for our disposable times. No, this is heavier. This is music too feed your head.

Live too, The Vryll Society are a formidable force. That gang mentality binds them together over the ideas formed by spending long hours together in the rehearsal every day. Hotwiring these ideas into the heads of the crowd through extended psych jams and deep solid grooves gives a different show every time, and with each and every set, the offer gets better. Recent travels have seen them take SXSW 2017 by storm as guests of BBC Introducing as well as major festivals such as Glastonbury and Leeds/Reading.

The songs that fill the delicious grooves of Course Of The Satellite weren't so much written as devised or developed, brought together organically over months in the band's underground lair, or over weeks in Liverpool's Parr Street Studios. Working closely with producers, Wills' right hand man and Deltasonic brother-in-arms Joe Fearon and Tom Longworth, the album took shape organically, biding its time and finding its way. The result is a work of impressive confidence and stature. It's a record that believes in itself, and for all the right reasons. This is an effortlessly cool album, the sort of record that makes friends easily. The world is ready, willing and more than able to take The Vryll Society even deeper to their heart. The path Alan Wills showed them awaits. It's a path that leads to greatness.

a1 | Course Of The Satellite
a2 | A Perfect Rhythm
a3 | Andrei Rublev
a4 | Glows And Spheres
a5 | Tears We Cry
a6 | When The Air Is Hot
b1 | The Light At The Edge Of The World
b2 | Shadow Of A Wave
b3 | Soft Glue
b4 | Inner Life
b5 | Give In To Me

On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."

Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it's easy to hear the reverential quality of sacred music in her songs. "A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you're singing, it becomes really overwhelming," Tomberlin says. "I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn't know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind That's what's influenced how I write."

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.

a1 | Any Other Way
a2 | Untitled 1
a3 | Tornado
a4 | You Are Here
a5 | A Video Game
b1 | I'm Not Scared
b2 | Seventeen
b3 | Self Help
b4 | Untitled 2
b5 | February

Go and Live... Stay and Die is the debut album by the German trash metal band Vendetta. After their formation in 1984 they started working on this album full of killer riffs and phenomenal choruses. The tracks that runs for over 6 minutes develops from soft and acoustic passages to energetic technical metal sounds. It gives a good impression of what the Germans had to offer in the popular trash metal music of the late 80s. Guitars, drums and vocals are dominant on the album and together showing the quality and aggressiveness of their sound. It's a real shame that this band didn't get the credits during their active years, but this is the change to make everything right.

Son House was one of the most influential delta blues singers and was famous for his emotional style of signing and slide guitar playing. Father of Folk Blues presented him to the public during the 60s folk revival. The roughness of his voice and intensity of the metal sounds from his guitar are prominent on the album. Nine tracks which can be considered as gems and all telling the story of a hard working man and the intrigues of life. The blues comes alive in subjects as women, religion, war and crime. The album features guitarist and harmonica player Al Wilson, a founding member of Canned Heat. This release is an original 1965 re-issue.

During his early 20s Son House turned to the blues after working as a preacher and pastor. He developed his own unique playing style, full of emotional layers and rhythmic melodies. During the American folk music revival he began performing for young audiences and became known as the Father of Folk Blues.

Das selbstbetitelte Album des Rolling Stones Bassisten Bill Wyman war der dritte Versuch eines Soloalbums. Ihm gelang hier die perfekte Mischung aus komischem Humor und
Rock'n'Roll-Musik. Nach früheren Alben übernimmt Bill bei
diesem Album die meisten Instrumente selbst.
Dies gab dem Album einen klaren und konsistenten Sound und so gelangen ihm auch die beiden Hit Singles "A New Fashion" und "(Si, Si) Je Suis Un Rock Star".

"If Fellini, Dali and Captain Kangaroo got together in their teens and ate peyote, this is the album they would have recorded."- Les Claypool All My Kin is the strange and somewhat unbelievable album by an artist called Beanpole. Starving artist must have been their mode of recording as stories of farming, eating, and
disfigured animal-human hybrids course throughout the record. Very little is known about Beanpole, but it is widely recognized by collectors that most of the music originated from the late 1980s and early 1990s. Some sources maintain Beanpole is still active, although evidence remains unsubstantiated. Primus' Les Claypool claims he attempted to release a decade's worth of Beanpole recordings on his Prawn Song label in the '90s. We're told that the tracks were delivered to the mastering studio on worn-out cassette tapes and dusty DATs. As legend has it, when Claypool played the mastered tracks to his distributor, the response from company executives was poor. As a result, Claypool was summarily dismissed from his business relationship with the distribution company, effectively ending his label. For nearly 20 years thereafter, the tracks were to remain forgotten. Fast forward to 2017 when Claypool was touring with Sean Lennon as The Claypool Lennon Delirium. Les played the old, neglected recordings to Sean, who decided that the world was finally ready for Beanpole! Beanpole's All My Kin is a concept album for post-modern America. It chronicles the epic tale of Chicken Boy and his dangerously interrelated family. Years of isolation have resulted in the birth of a child who is part man and part poultry. Despite obvious adoration for their uniquely feathered offspring, having fallen upon hard times they consider the unthinkable: will
Chicken Boy be sacrificed to feed his hungry family
Sean Lennon

San Francisco, CA—drop the needle and start navigating the heat of a backyard rumba with Los Intocables, led by Gilberto Rodriguez. This is modern Chicano Soul creased down the middle of Bay Area Guanguanco street rhythms, accompanied by overdriven bass and expressionist trumpet lines in full color . Groove-laden racks bring the cruise to life and steal a kiss on the tropics of an eternal brown-eyed summer. Los Intocables are Ahkeel Mestayer on all percussion, Ruben Sandoval on keys, brothers Carlos and Jorge Rodriguez on trumpets and Gilberto Rodriguez on guitars and vocals, featuring guest vocals from
Ilia Correa Sepulveda on Bahiá Caliente.Taking cues from the Chicano Rock canon and specifically that of the San Francisco Bay Area historic musical scene, this is a wholly raw sound awash in sonic dissonance and tropical beat-poetic swagger that could only have been conceived in the streets of San Francisco. It's an evolution of the American experimental and psych scene that doesn't take precedence over any specific genre. As fluid as the
shifting demographics of the US is the reflection of the Los Intocables sound coming from the turntable.

 gatefold sleeve with "pop-up" of artists, a 24-page booklet

24 page 12 x 12 booklet with an article on the preparation and recording of the the album, 

Comes With A Printed Cardboard Inner Sleeve. 

2014 reissue on 180g vinyl. Comes with custom inner sleeve

Pip Blom is a phenomenal young indie rock band from Amsterdam that's been making waves in England, a BBC radio darling touring with Franz Ferdinand and The Breeders. Pip Blom is both the name of the band and its leader, a dynamic 21-year-old singer-songwriter-guitarist. Paycheck, the group's new EP, is a roaring, attitude-laden offering that maintains their playfulness and knack for melody that's earned comparisons to Blur and Courtney Barnett.

In 2017, a series of hooky singles Pip uploaded to the internet hit over a million plays, bringing a sudden burst of overseas accolades. The singles sold out quickly, and El Diablo (run by Guided By Voices / Yoko Ono manager) has pressed up just 500 copies of this 10' vinyl. The EP is something of an older sibling to Pip's previous 7's, doubling up on the infectiousness of those early hits but with a bigger crunch. Festival appearances and energetic, gripping live shows around the UK and Europe have solidified the band as a rising star in a new generation of indie guitar bands.

Despite praise and acclaim throughout his career, Roy ontgomery
hates his singing. From his point of view, it's done out of ecessity,when he doesn't have anyone else around to substitute. Roughly one quarter of Montgomery's epic multi-album 2016 release R M H Q had his singing, and those are his least favorite tracks.Grapefruit has done the best they can to argue that his basso undertones are the center of his appeal throughout his entire body of work, from the first The Pin Group single on Flying Nun in 1981, through his work in Dadamah, Dissolve and on to his legendary '90s solo releases. However, is it a surprise he jumped at the idea of composing an album for other vocalists This began as a series of alternate takes of the material on Tropic Of Anodyne, the tracks with vocals off his last release. That concept morphed into assembling vocalists to sing on new songs, and he conceived instrumental material that would fit each singer. Half of the songs came together, resulting in Suffuse. The album charts a slow progression from those who share similarities with Montgomery's rumbling vocal technique to those who come at singing differently, with minute contrasts throughout. Haley Fohr (Circuit des Yeux) and Jessica Larrabee (She Keeps Bees) bring the first two tracks, with Katie Von Schleicher following with a raw expression of emotional loss, and the sisters Clementine and Valentine Nixon (Purple Pilgrims) expressing emptiness by stripping away words, weaving their voices together through
Montgomery's elastic webbing. Julianna Barwick adds drive and
nuance to the foamy sonic waves of Sigma Octantis, as 'Landfall'
crashes in slow motion chaos over Liz Harris's (Grouper) multitracked layers. These compositions generously embrace their guest leaders, and for the first time in his career, Roy Montgomery has made a cogent artistic argument as to why he shouldn't be singing these songs himself.





(w/ Katie Von Schleicher)

n5MD is proud to bring you All That Was Lost, The 3rd album from cinematic ambient composer Stray Theories. A treat for for fans of Hammock, Eluvium & the more soothing works of Sigur Ros...
Australian born and current New Zealand resident Micah Templeton-Wolfe is the sole force behind Stray Theories, and this album finds him following-up 2014s We Never Left EP with his first new long-form Stray Theories material, not to mention, his first album to be pressed to vinyl.
Templeton-Wolfe's time away has not been for naught. Composing for films, collaborations with like-minded artists and a plethora of remix projects, all while creating a sample pack for the Noiiz sample app under new project Ocean Lost. So it's been a busy time for Templeton-Wolfe.
While he has seemingly been focusing his efforts else- where, Templeton-Wolfe has been quietly composing for All That Was Lost, an album which is imbued in spades with Stray Theories' signature mood-altering sound- scapes.
Muted electronics have always played a part in the Stray Theories pallet, and some of Templeton-Wolfe's extracurricular work might have something to do with those textures now being brought a bit more to the fore. In Templeton-Wolfe's hand, these fit in perfectly within the personally subjective nature his music has always suggested. All That Was Lost is a cinematic ambient gem brought into the world at a time when we need it most.

Red And Blue!!! 3d Sleeve Repressed At Last. This Banger From Ty Makes Your Ears Hear In Three D Also!!! New Direct Set Up With Famous Class Means A New Pricing check The Entire Label Listing Attached Above (inc. Thee Oh Sees, Future Islands, Ty Segall, Mikal Cronin And More...)
Famous Class Is Proud To Announce The Brand New Ty Segall: Mr. Face Ep!!! Not Only Is This Gatefold Double 7 Ep Packed With 4 Killer Jams. Pressed On Translucent Red + Blue Colored Vinyl You Just Look Through The Records To Activate The Supercharged 3d Artwork. Get Weird With Us. **pls Note This Import Version Does Not Come With 3d Glasses.

Blending wiry, dark post-punk with unpredictable art-rock, Drahla have established themselves as a formidable and distinctive band across their two sold out 7' singles and the 2017 Third Article EP. Formed in late 2015, Drahla quickly found their identity in Yorkshire's fertile music scene with their minimal yet robust bass-heavy sound.

Their reputation as a fervent live act is ever-growing, with the band being asked to share stages with the likes of Parquet Courts, METZ, Ought, Buzzcocks, Hookworms, The Cribs and more. Their Third Article EP, produced by Hookworms' MJ, was released at the end of 2017 on the band's own Blank Ad label followed by their first European tour supporting Metz. Third Article finds the band at their most captivating, with track 'Silk Spirit' exhibiting Luciel's mesmerizing spoken drawl, paired with the steady unrelenting wall of sound from Rob Riggs on bass, and Mike Ainsley on drums. After watching the band's self-made video for 'Silk Spirit', Mike Sniper, founder of Brooklyn independent label Captured Tracks, was immediately hooked. The band signed to Captured Tracks shortly after.

Now, having just completed a tour supporting Ought, the band are releasing their commanding new 7-inch single 'Twelve Divisions of the Day', featuring a B-side remix that strikes with as much fervor as the original but leaves a different bite mark. As they commence a slew of May and June shows, including an invitation to play Robert Smith's Meltdown Festival, the band are poised to take their mark as one of the most visceral and exciting new bands on the scene.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- INSERT WITH EXCLUSIVE LINER NOTES BY ANDY CATO
- CONTAINING THE HIT SINGLES EASY', PURPLE HAZE' & BUT I FEEL GOOD'
- FEAT. GUEST APPEARANCES BY NENEH CHERRY, SUNSHINE ANDERSON, RICHIE HAVENS A.O.
- SPECIAL GROOVE ARMADA 21 EDITION - 2.000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT BLUE VINYL

The electronic music duo Groove Armada released their fourth album Lovebox in 2002. The album includes some of their best tracks, ramping through genres from rock 'n' roll to the psychedelica and ska. It also features collaborations with artists like Neneh Cherry and Richie Havens, who ads some soulful voices to the whole. Opener Purple Haze' introduces us to a giant guitar riff and highlight Madder' takes the groove out of The Clash's Magnificent Seven', before moving on to the raps by M.A.D. They're incorporating a lot of samples in the fine structured melodies of soul/funk/rock and hip-hop.

After playing at club nights for years Andy Cato and Tom Findlay joined forces and created their debut album 'Northern Star' and breakthrough hit 'At The River'. It was the start of a collaboration that brought them hits like My Friend' and Superstylin''.