Pop & Rock News

Steve Monite's album, Only You, is a prime slab of Nigerian boogie. It's sinewy, compact and sexy, a little bit of disco mixed with a big dose of funk. Loose and groovy, it's a sonic seduction from another dimension. With legendary producer Tony Okoroji at the desk, and influential musician and sound engineer, Nkono Teles, creating magic on the synth, the title track is raw and melodic, dark and sweet at the same time. Steve sings about putting out a fire, but the music, and Stella Monye's sultry backing vocals, stoke it with aural gasoline. You've never heard a song less likely to lower the temperature and let cooler heads prevail. While never quite reaching the heights of 'Only You', 'Welcome My Love' and 'Things Fall Apart' keep the groove going, the later with a distinctly Latin swing. A couple of extended 'Disco Jams' and an obligatory, romantic ballad ('I Had A Dream') round out the record. In all honesty, however, it is 'Only You' that you'll keep going back to. It's a killer track, an Afro Boogie classic that would hold its own on any dance floor in the world, whether in the 80s or today. - Peter Moore

Anglo-Canadian Tamsin Wilson founded Wilsen when she enrolled at Berklee College of Music in Boston, meeting band
mates Drew Arndt and Johnny Simon. The trio relocated to New York after graduation, where they now make
'spectral, towering dream-folk... songs that careen onthe edge of losing control,' (Stereogum).

First appearing on the scene with the self-released Sirens double-EP (2013) and Magnolia EP (2014). Tours with Daughter,Matthew E. White, San Fermin and shows with London Grammar soon followed. Tamsin has also lent her vocals to HONNE's 'Coastal Love' and a vocal line of hers is used in a SBTRKT song.

I Go Missing In My Sleep is Wilsen's debut album and was recorded with producer Ben Baptie in upstate New York and atThe Farm Studio outside of Philadelphia.

Many of the songs were composed in a tiny Brooklyn apartmentin the fleeting pre-dawn moments when New York City is mostlystill. These beautifully crafted original pieces capture an almost impossible sense of delicate quietness, and when it came time to record them with the band - Drew Arndt on bass and Johnny Simon on guitar - they unfurled at a nexus of hushed and heart-racing, intimate folk paired with muscular yet restrained sonic experimentation.
________
'Tamsin Wilson has vocals that hit you with a power & beauty, forcing you to close your eyes and imagine some mystical wonderland of pine trees and foggy lakes.'
Hunger

'Evokes the mood of Nick Drake and epic soundscapes in the vein of Arcade Fire.'
Clash

¼' spine jacket to hold three individual LPs

Limited Edition, 15,000 run (WW), Numbered Case-made book with 3 bound in swing pockets and 4-panel folder

Recorded on locaton, produced and curated by Nicola Kearey and Ian Carter, these brand new recordings ofer a diferent way to hear some distnguished folk names alongside lesser known artsts.
Renowned for music that's true and unadorned, STICK IN THE WHEEL invited the musicians to think about what 'From Here' means to them - by way of place or geography, or as a way of exploring their musical origins - 'here's what I am, this is where I'm from'. An investgaton not only of the past, but also of cultural identty, what it means to be making folk music now.
Our aim is to connect folk music to a wider audience whilst challenging the percepton of what it is - here are some important artsts from the scene, performing in the most traditonal way possible - raw and powerful.'

3 is the third album by the French covers band Nouvelle Vague, initially released 16 June 2009. As with their previous release, the album consists entirely of cover versions, mostly of post-punk and new wave songs from the 1970s and 1980s. Four of the tracks are performed as duets, featuring the song's original vocalist performing alongside one of Nouvelle Vague's female singers.

Nouvelle Vague is the 2004 self-titled debut album by the French band Nouvelle Vague. The album consists entirely of easy listening and bossa nova versions of songs that were written and recorded during the post-punk/new wave era. The band's name is a play on words, new wave and bossa nova being the literal translations, in English and Portuguese respectively, of the French phrase Nouvelle Vague, which is itself a reference to the French cinema movement of the 1950s and 1960s. The songs are recorded with female vocalists who had not previously heard the songs they would be covering.

Bande à Part is Nouvelle Vague's second album, initially released in 2006. Like their eponymous first album, it is a collection of bossa nova cover versions of 1980s new wave tracks. The music video for "Dance with Me" references the famous dance sequence from Jean-Luc Godard's film Bande à part (1964).

Welcome to Saddle Creeks new series, Document, where they aim to highlight artists and music scenes from around the world that they've fallen in love with, but aren't necessarily already part of the Saddle Creek family. The inaugural release in the series is the Kismet 7-inch from Seattle's own, Posse.

The earliest live recordings yet discovered of this hero of British folk were originally released on CD by Ace Records in 1998, 30 tracks of Bert originals, blues and folk covers recorded between 1962 and 1964 by schoolboy Frank Coia.

Now on vinyl for the very first time, these tracks are an important document of early live appearances by a mercurial talent, and Stamford Audio has launched a very special label to enable the songs to be heard on the beautiful vinyl format.

This is the first release on the Stamford Audio Heritage label, aiming to represent recordings of historical significance on vinyl, it will be strictly limited to 1000 hand-numbered copies and will not be repressed.

Part 1 of The Fools Sermon as composed by and recorded by Daniel Higgs

with Eli Winograd on Bass and Bass keyboard & Fumie Ishii on Drums & voce Higgs on Bajo and Voice

Recorded by Eli Winograd at Lone Pine Road, Kingston NY, Spring 2015 Cut by CGB at Dubplates & Mastering, Berlin 1115.


Daniel Higgs once told me that the Earth is actually in its 34th life cycle. That everything has been conceived, created, grown, withered and ultimately been destroyed a grand total of thirty three times to date. As for quite how long this Ourobouros-esque pattern will continue, he never enunciated. For enunciation is at the very heart of The Fools Sermon. Or I should say 'Ee-nun-see-a-she-on", as language in the hands of Higgs becomes a plaything, syllables coil and retreat as if in eternal competition over the course of this 35 minute address. Anyone versed in Higgs' vocabulary over his 30 year-plus career as musician, poet and orator, The Fools Sermon will feel like a worthy distillation of his other-world view: a raw vision of the sacred and the profane, the physical and the metaphysical, The Proterozoic and the Present. At points, the results conjure a Flannery O'Connor penned pulpit-bound preacher elucidating as a huddle of Tribe Records personnel channel Black Dada Nihilismus, at others the narcoleptic exotica of Eden Ahbez shakes hands with Blind Joe Death. One imagines Gene Roddenberry's Captain turning his attention to the Philosopher's Stone, to boldly go where no man and everyman has been before and forever will go again. - Anthony Sylvester London, June 2016

Al Lewis from Wales and Alva Leigh from Mississippi release their debut album Ghost on Celticana Records.

This year's Americana Music Awards saw Lewis & Leigh win both Best Song ('The 4:19') and Best Album.

A stunning collection of self-penned originals, Lewis & Leigh's 'Ghost' is the culmination of a collaboration that began in 2014. Recorded in January 2016 at Urchin Studios in London with Matt Ingram.

They sing for the lost and the lonely but the songs carry as much sweetness as sorrow. The Guardian

Reserved and minimal backing, harmonies that are both dark and sweet, the pair bring out the best in each other as lyricists. Q Magazine

In 2010, when the American Marc Anthony Thompson, said Chocolate Genius Inc, released his fourth album Swansongs (and his first for the French label No Format), he announced at the same time that It will be the last, at least under this name.

Great loss to be missed: as surely as discreetly, Marc Anthony Thompson had imposed himself over the years and records as an indispensable soul singer, faithful to the music he listened to teenager (Al Green, Sam Cooke and all the giants Of the genre), but above all preserved from the trap and the ease of imitation, the retro revival. On form, this man with warm, subtle and often heartbreaking tone took all liberties, flirted with indie rock, embraced blues, folk and funk. After two albums under his baptismal name in the 80s, and three others as Chocolate Genius (Black Music in 1998, Godmusic in 2001, and Black Yankee Rock in 2005), the musician had signed with No Format And an esthetics that suit him well) his song of the swan.

This fifth album is a meticulous blend of underground soul, rock bricole, r'n'b low-fi, disarming folk of soft veiled. The twelve songs resemble what Chocolate Genius Inc has always done: that is, they resemble only him, and reflect the richness and variety of his inspiration. They hover and float between genres and references. Chocolate Genius Inc. plays all instruments, but it also plays with light, with emotions, with space-time, with flesh. Twelve songs, twelve balls in the skin, which give the thrill and cross the epidermis to touch to the heart, to the thousand. If this record is the beginning of the end for Chocolate Genius Inc., we already dream of hearing the sequel.

First official reissue ever! Includes two bonus tracks and extended linernotes! Gatefold Sleeve. It's 1967 and Kali Bahlu felt that it was time to "simply speak the truth as it comes to me from the other side". Her believes that we're all tapped in a cosmic game, and her overall adorable wisdomly folly that she preserved into her old days, could lead to the assumption that she's been the grandmother of characters like Luna Lovegood. The record features four narrations performed by Kali with a bright and sometimes piercing voice in which she unveils her visions to the listener. What awaits you here ain't exactly the typical flower pop with colourful harmonies. This is an entirely different affair. She speaks, screams, laughs and sings with that lovely lunatic expression in her voice on a base of droning music that is a combination of classic Indian raga with sitar and tabla and a few other eruptive sound creating instruments a really mystifying atmosphere. The music and narrations drag you into a colourful world of strange plants and creatures. They tell you enchanted stories of Leprechauns, Fairys, Witches, Lemurian Kings, Angels, and "the Northwind (that) got stoned of marijuana....". Be invited and come along on a journey of Cosmic Remembrance!

This album has been quite an obscurity already by the time of its release. Recorded by 19 year old Mark Fry for an Italian sub label of RCA it presented a beautifully naive kind of psychedelic folk similar to what the INCREDIBLE STRING BAND laid down at the same time just a bit more straight forwarded. We saw originals in good condition go for about 1600 Euros already, therefore such a reissue is always welcome among fans of totally psyched out music, done by mostly acoustic instrumentation and vocals. Young Mark enchants his listeners with dreamy vocal melodies of utter beauty which create an outmost peaceful atmosphere. The picturesque tunes take you onto a trip out to the English countryside on a gentle and warm spring morning and into a fairytale world. You might get lost within this colorful dream and not be willing to return to grey reality anymore but this music indeed burns on as the flame of love within your heart. The direction despite all psychedelic elements is definitely determined by British folk music of the 60's and 70's. One charmingly odd aspect of the album is that the title track has been split up over the whole album as short sections flanking the longer tunes. I cannot recall anybody else ever doing that, so this is making this nifty little record a unique effort. If you are a fan of PERRY LEOPOLD or the above mentioned INCREDIBLE STRING BAND this record will fulfill your wildest dreams but will also please those into STEELEYE SPAN, WOODS BAND or PENTANGLE. Mark Fry plays his acid folk from the bottom of his soul without thinking about satisfying the demands of the mainstream audience. This is a must have for all fans of acid folk from the late 60s to the early 70s era. This music is intriguing, keen and absolutely one of a kind with a mood changing from rainy days to sunny mornings out in the meadows.

Contemporary field recordings from the Sahelian empire of Niger. Focusing on guitar music throughout the country, from meditative starlight ballads, fuzzy Hendrix covers, rag tag wedding bands, to politically minded folk guitarists. A beautiful encapsulation of the diversity of guitar as it exists today, documented over years of travels. Recorded live with a single microphone, with a backdrop of children's voices, crickets, and village ambience. A follow up to Laila Je T'Aime and Ishilan n-Tenere. With 16 page full colour liner notes.

Soul Jazz Records' new album features the truly intense, hypnotic and fascinating Vodou drums of Haiti, a stunning collection of trance-like rhythms and beats traditionally used to induce spirit possession in the Vodou religion.
Soul Jazz Records first journeyed to Haiti in 1996 to record a series of three albums about Haitian Vodou music and culture. One of these, 'Voodoo Drums', featuring the drum rhythms used to bring about spirit possession, struck a striking chord with listeners and amazingly went on to become one of their best-selling albums. "I haven't heard anything quite like this, the rhythms are very deeply orchestrated yet it also sounds
like improvisation. There are tonalities and textures coming from this album like I've never heard. A great album by Soul Jazz, very well recorded. Some of the sounds I have no idea how they are getting them! This album is bending my ear and setting off the dancing devils in my soul!! Unreal!"
Guardian In 2016 Soul Jazz Records returned to Haiti once more to record a new second volume of the same intense Vodou drumming. Recorded in the capital of Port-au-Prince, Haiti, some 20 years after their first visit, this album also features the very same musicians, the Drummers of the Société Absolument Guinin. "This record, which consists entirely of recordings of vodou drumming made in Port-Au-Prince, is one of a series of Soul Jazz releases exploring Haitian music, all of which are worth your attention. Nonetheless there's something about the intensity and virtuosity of this particular drums-based album that's particularly transportive. It captures the extraordinary complexity and sophistication of these ceremonial rhythms, which shift, interlock and switch angle of attack with a logic that's near-indecipherable as a listener unable to see visually how they unfold.
These drum rituals are central to Haitian vodou, their power to awe and mesmerise isn't dimmed through being relatively unfamiliar with the traditions that underlie them, these recordings are dynamic and riveting in their intricacy and power." Quietus
Like the first album, these new recordings somehow manage to walk the line between serious ethnological authenticity and a connection with the energy and intensity of the dance rhythms of
techno and house music that make them quite unique:
"Soul Jazz yet again come correct with the roots and culture. This amazing set of ritual breakbeats Haitian style has to be the most phenomenal, left field battle breaks album you could imagine. The rhythms used cause spirits to manifest themselves in the physical world, all powerful, some benevolent, others less so. Enjoyable and really quite mind expanding, this is recommended to
anyone who thinks traditional music is not for them. Really unparallelled, both in terms of quality and the competition." Boomkat
This album is released worldwide on heavyweight double LP + download code, deluxe CD and digital album.

By the time Rosemary Lane was released in 1971, Bert Jansch had covered a great deal of territory on numerous albums as a solo artist, collaborations with John Renbourn and records by the band in which he and Renbourn sang and played guitar, Pentangle. Returning to the intimate economy of his self-titled debut LP from a half-dozen or so years earlier, Rosemary Lane was recorded on portable equipment by engineer/producer Bill Leader and featured Jansch with no accompaniment save his guitar and voice.

Rosemary Lane has elements of many of the styles Jansch covered in his extraordinarily eclectic career - from the folk and blues that were his bedrock to medieval music - yet cuts to the heart of his strength as spellbinding storyteller and empathic interpreter of isolation and want. Occasional instrumentals vary the mood that, like much of his work, is usually somber and introspective.

Jansch once again lights the way forward with detours through the past. His sparse arrangements seamlessly merge original songwriting and traditional folk songs, while Jansch's imaginative lyrics charm every step of the way - as if speaking directly to the listener alone.

This vinyl release has been carefully remastered from the original master tapes and features liner notes by Richie Unterberger.

Bert Jansch's freewheeling fifth album, Birthday Blues, occupies a unique place in his solo discography. Released in 1969, the same year Basket of Light propelled Pentangle into the UK pop charts, Birthday Blues almost sounds like a Pentangle LP missing John Renbourn and Jacqui McShee. Backed-up by bandmates Danny Thompson and Terry Cox, Jansch neither holds back his characteristic moodiness nor takes himself too seriously.

What's more, Jansch is in love. Heather Rosemary Sewell isn't just the inspiration for one of the song titles, she also designed the cover, whose Hans Feurer front photo shows Bert holding the couple's puppy. With just enough of a Donovan-esque pop sense, Pentangle producer Shel Talmy keeps the overall feel of these recordings fresh, warm and immediate.

As its playfully ambivalent title suggests, Birthday Blues reveals an artist fully comfortable in his own skin. Blues and folk influences are woven together into songs at once directly personal, yet generously light and free. The most "pop" of Jansch's '60s solo recordings and perhaps one of his most underrated, Birthday Blues is a deep and rewarding family affair at the height of his musical powers.

This vinyl release has been carefully remastered from the original master tapes and features liner notes by Richie Unterberger.

Two years have passed since Scout Pare-Phillips' debut album, Heed the Call, was released on Dais Records, followed by domestic and international performances celebrating her solo work. During the downtime, Scout has been writing, recording & performing newer songs that would become her cultivated follow-up release, Door Left Open'. Scout's musical foray started with the Baltimore based post-punk/country act, The Sterling Sisters. Within the Sisters, her skills as one-half of the primary songwriting force, coupled with her varied instrumentation and balladeer vocal projections made way for Scout to step aside and embark on her own solo performances and creative endeavors.

Scout's operatically trained soprano voice combined with her seemingly effortless proficiency with instruments such as the autoharp and baritone guitar create her own unique hybrid of old time folk storytelling and modern illusionary contrast. Influenced by acoustic legends such as Sibylle Baier and Leonard Cohen, the vocal conviction of Roy Orbison, and still holding poetic court with players like Rowland S. Howard, Nick Cave and Diamanda Galas, Scout Pare´-Phillips' songwriting lands in the middle of some very intriguing yet complex influences.

Crashing crescendos of guitar, percussively strummed autoharp, swooning cello, hovering keyboards, and an array of both acoustic and electronic percussion by Scout's beloved musical collaborator, Emil Bognar-Nasdor (Dawn of Humans, Røsenkopf), populate her LP. Scout's torch songs of pure, raw emotional outpouring compliment the rich timbre of her trained voice, which breathes a new life into the contemporary idea of a folk singer'. Her narrative about two lovers being torn apart and brought back together over many years has formed a new genre within acoustic music's storytelling tradition.

Recently, Scout's talents have been noticed by Jack White (The White Stripes / Third Man). She was asked to accompany him on Lazaretto and even star in White's new video, Would You Fight For My Love.

As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist

A delicate collection of songs for meditation on spiritual struggle, The Leaves Fall is a window into the parallel reality of Justin Carter. Centered on his intimate vocals, pointed with hints of Arthur Russell and John Martyn, the eight tracks are buttressed by warm acoustic guitars, vibraphones, organs and flourished with modern production. They are familiar but distant, like ghosts living in the present. Carter grew up in a country house in rural North Carolina, a place with a pecan tree and abandoned train tracks in the front yard. On long car rides from home to his dad's work as a school teacher, his ears were filled with the prog of Yes, the vocals of Al Jarreau and the complexity of Christopher Parkening's take on Bach. It was his father, who himself has moonlighted as a guitar player and songwriter for nearly 50 years, that taught Carter to sing and play in his early teens.

The Leaves Fall was written on and off over the course of about five years, a secret to most. Carter is more familiar, alongside Eamon Harkin, as co-founder of popular New York parties Mister Saturday Night and Mister Sunday, and their label offshoot, Mister Saturday Night Records. As the Mister thrived, his songwriting continued to tick along in the background, days and weeks stolen here and there to write and record in various locations - from remote studios in the
Catskills to basements in Venice Beach.

The album features Jason Lindner, pianist on Bowie's final masterpiece, Blackstar, cello from Archie Pelago's Greg Heffernan, and programming by LIES Records and The Trilogy Tapes producer Marcos Cabral. It was mixed by Benjamin Tierney, who also worked his magic on Kamasi Washington's The Epic. It finds its context in the world of Planetarium, a new listening session established by Carter and his Mister Saturday Night DJ partner, Eamon Harkin, where live music is mixed amongst hours of records to create an immersive, communal listening experience focused on quality hi-fi sound in non-traditional spaces, the album will presented in this manner when toured.

Nothing makes me happier than to see people letting go. My ambition in all my creative work is to make moments where that can happen. As a DJ, I use others' music to create those moments, but it's always been in me to make my own music for that purpose. After twenty-five years of writing music for myself, it makes me really happy to have something to share with others.' - Justin Carter

Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. 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, with Victor Assis Brasil Toca Antonio Carlos Jobim and Jose Mauro's Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

The 3rd release in the series (following the aforementioned albums by Jose Mauro and Victor Assis Brasil) is Piri's Vocês Querem Mate, a highly sought after jewel of twisted psychedelic MPB.Vocês Querem Mate, the first recording by the relatively unknown singer songwriter Piry Reis is dreamy and ethereal, groovy Brazilian psych-folk at its finest. Reis has collaborated with greats like Egberto Gismonti and Robertinho Silva, and had his music performed by Celia, Charlie Haden and Jan Garbarek. His four solo albums are all rare as hens' teeth and have been known to fetch a hefty bounty, but none higher than his debut, and for good reason.

Instantly captivating from its first second, the lone trembling piano in 'Reza Breva' builds a tremendous tension before bursting into the joyously funky Tropicalista folk jam that keeps up throughout the album. Flying the Brazilian freak flag high are percussion kings Juquina and Wilson Das Neves along with Paulinho Jobim and Danilo Caymmi on flutes. It's a dazzling, lucid piece of escapism, as necessary today as it was when released into the tumultuous political climate of 1970s Brazil. Tracks like 'As Incríveis Peripécias De Danilo' and 'Cupído Esculpido' are tripped out MPB at its most decadent, and more sombre moments like 'Sombra Morta' and closer 'Chão Vermelho' offer shadier melancholic contrasts. Without a doubt the most free-spirited release in the Quartin catalogue, Voces Querem Mate is a forgotten treasure of Brazilian music of the highest order.

All the releases in the Quartin series have been re-mastered from the original 2' tapes, and pressed to high quality heavyweight vinyl. Still to come from Far Out's reissuing of the catalogue are Victor Assis Brasil's Esperanto, and another Jose Mauro release A Viagem Des Horas.

Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. 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, with Victor Assis Brasil Toca Antonio Carlos Jobim and Jose Mauro's Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.The 3rd release in the series (following the aforementioned albums by Jose Mauro and Victor Assis Brasil) is Piri's Vocês Querem Mate, a highly sought after jewel of twisted psychedelic MPB.Vocês Querem Mate, the first recording by the relatively unknown singer songwriter Piry Reis is dreamy and ethereal, groovy Brazilian psych-folk at its finest. Reis has collaborated with greats like Egberto Gismonti and Robertinho Silva, and had his music performed by Celia, Charlie Haden and Jan Garbarek. His four solo albums are all rare as hens' teeth and have been known to fetch a hefty bounty, but none higher than his debut, and for good reason.

Instantly captivating from its first second, the lone trembling piano in 'Reza Breva' builds a tremendous tension before bursting into the joyously funky Tropicalista folk jam that keeps up throughout the album. Flying the Brazilian freak flag high are percussion kings Juquina and Wilson Das Neves along with Paulinho Jobim and Danilo Caymmi on flutes. It's a dazzling, lucid piece of escapism, as necessary today as it was when released into the tumultuous political climate of 1970s Brazil. Tracks like 'As Incríveis Peripécias De Danilo' and 'Cupído Esculpido' are tripped out MPB at its most decadent, and more sombre moments like 'Sombra Morta' and closer 'Chão Vermelho' offer shadier melancholic contrasts. Without a doubt the most free-spirited release in the Quartin catalogue, Voces Querem Mate is a forgotten treasure of Brazilian music of the highest order.

All the releases in the Quartin series have been re-mastered from the original 2' tapes, and pressed to high quality heavyweight vinyl. Still to come from Far Out's reissuing of the catalogue are Victor Assis Brasil's Esperanto, and another Jose Mauro release A Viagem Des Horas.

pressed on Magenta Coloured Vinyl - limited to 1000 units world wide !!

Their 1973 debut on the legendary Saravah label. A subtle mix of spiritual jazz, pop, folk and avant-gardism, reminiscent of Full Moon Ensemble, Brigitte Fontaine and the Thêatre du Chêne Noir. One of the most innovative of all French prog underground bands.

Guadeloupe meets Detroit!
Esnard Boisdur is one of the great voices of Gwo Ka - the folkloric rhythm of Guadeloupe.
On the A Side Frankie Francis & Simbad flip hIs 1991 track 'Soufwans' (Sufferance) into a groove that combines hypnotic percussion and mournful vocals with Detroit-inspired synths and a rolling bassline. The B side stretches out for a deep deep dub.
Trust us this one is a monster on the dancefloor!