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THE PLAYGROUND drops a magical 4 tracker from Chicago original JORDAN FIELDS. This record is a vibe period. Featuring Chicago style deep jazzy vibes with a splash of Detroit-ish dub. These raw and nostalgic tracks that will stay in your record box time after time.

An exciting new Record producer, with a sound that blends elements of Electro, Breaks, and Techno, Doppelbanger is quickly making a name for himself in the underground music circuit.
Drawing inspiration from the pulsing rhythms of the latest Electro sound with artists like Locked Club , Re:drum , Dagga, Manao & Hermeth leading the revolution. He infuses his tracks with a gritty energy that sure gets crowds moving on the dancefloor, but he also brings a modern twist to the genre, incorporating lush synths, intricate percussion, and cleverly manipulated samples to create a sound that is both nostalgic and forward-thinking.

Whether you’re a die-hard Electro fan or just looking for some fresh beats to get your groove on, Doppelbanger is sure to deliver the goods. So tune in, turn up, and let the vibes wash over you!

His first EP has just been released across all streaming platforms, along with the 1st press of Vinyl Records, grab a copy soon, before it is sold out!

Write up for EP: 2020 Vision

Welcome to an Electro-infused sonic journey! This EP captures the essence of a unique musical vision, blending captivating melodies, pulsating beats, and intricate soundscapes. With five tracks that span a range of moods and emotions, you are invited to immerse yourself in this electrifying experience.
From the moment the first track kicks in, you’ll find yourself transported to a world where synths come alive and rhythms intertwine with ethereal soundscapes. Each composition has been carefully crafted to take you on a sonic adventure, weaving together elements of Electro, pulsing basslines, and mesmerizing textures that will leave you craving for more.

Throughout this EP, Doppelbanger has pushed the boundaries of the genre, exploring new sonic territories while staying true to its roots.

The five tracks on this EP are meticulously arranged and mixed to ensure a seamless flow, creating an immersive experience that will keep you engaged from start to finish. Whether you’re looking to lose yourself in the infectious grooves or find solace in the introspective moments, this collection of songs has something for everyone.

‘Dear Departed’, the second album from Sam Burton, arose from a time of rebirth. In the last few years, Burton basically started over. There’s a freedom in leaving everything behind, and Burton embarked on a wandering phase. He went and stayed at a friends’ family home in a rural region further north in California, where he holed up in a cabin and helped the grandmother farm to earn his keep. He crashed with friends all around Los Angeles, until he found himself a new gig and a new apartment of his own. Along the way, he was writing songs.

‘Dear Departed’ was produced by Jonathan Wilson (Angel Olsen, Father John Misty, Margo Price), and recorded at Wilson’s Topanga Canyon studio with some of the best studio players in LA.

Pressed On Clear Vinyl! 'We are the planters of the weeds or roses in our garden. Take the plunge within yourself to find The Main Ingredient.' So reads CL Smooth's album dedication in the liners to Pete Rock & CL's underrated, soulful and deeply grooving sophomore album. For fans, it was bittersweet, as it would be their last as a duo. By 1994, Pete and CL were darlings of both fans and critics, still on a high after 1992's Mecca & The Soul Brother and the album's emotional smash single 'They Reminisce Over You (T.R.O.Y.).' Two years later, they had grown even more as men and artists. Gone was some of the righteous striving of their earlier work, replaced by mature - yet still righteous - wisdom. And a lot more love as well, bringing a larger female constituency into their fanbase. They were adults now, reveling in the plateau they had reached. The duo's '90s swan song is a powerful double album that still resonates with Golden Era hip-hop fans: 16 cuts deep and full of intelligence, fire and warmth. Beats-per-minute-wise, the album mostly clocks at a comfortable strutting pace, bolstered by Pete Rock's pioneering use of filtered basslines and a recently-hatched obsession with Rhodes piano. The new tracks filled speakers and headphones with soul, as CL continued to assert his lyrical prowess all throughout. The lead single, 'I Got A Love,' is a perfect example of the group's '94 steez: a super-catchy and respectful, but far-from-soft love track, suitable for any rap fan's romantic needs. 'Take You There' and 'Carmel City' cover similar ground. Considering CL Smooth's top-level brag rapper status, cuts like 'I Get Physical,' 'Get On The Mic' and 'Check It Out' effectively reminded competitors not to test him. Pete also gets in the game on the mic several times on the album, acquitting himself nicely (and solo) on the cloudy day soul of 'Escape,' alongside other cuts. Add more pensive lyrical forays like 'All The Places,' 'Searching,' and - perhaps the album's sleeper cut - 'It's On You' and you have one of the more complete rap full-lengths of the mid-1990s. This isn't surprising, considering the wonder twins-esque skills of Pete and CL. But it does make fans wonder what would have happened if they had stayed together longer.

















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Sam Burtons zweites Album, 'Dear Departed', wurde von Jonathan Wilson (Angel Olsen, Father John Misty, Margo Price) in seinem Topanga Canyon Studio mit einigen der besten Studiomusiker in LA produziert. Gemeinsam haben Wilson und Burton einen Sound geschaffen, der nicht in Retro-Pastiche abgleitet, sondern vielmehr ein beschwörendes Echo, einen Traum von der Vergangenheit darstellt. Im Vergleich zu seinem gefeierten Debütalbum 'I Can Go With You' aus dem Jahr 2020 nutzt Burton hier eine weitaus größere Leinwand und verleiht den darin enthaltenen Emotionen ein neues Gefühl von Dringlichkeit und Intensität. Burton hat ein Händchen dafür, reines Laurel Canyon AM-Gold zu schürfen. Pastorale Streicherarrangements blühen im Hintergrund von Sams markantem, honigsüßem Gesang auf - wie ein moderner Campbell, Orbison oder Nilsson.

Sam Burtons zweites Album, 'Dear Departed', wurde von Jonathan Wilson (Angel Olsen, Father John Misty, Margo Price) in seinem Topanga Canyon Studio mit einigen der besten Studiomusiker in LA produziert. Gemeinsam haben Wilson und Burton einen Sound geschaffen, der nicht in Retro-Pastiche abgleitet, sondern vielmehr ein beschwörendes Echo, einen Traum von der Vergangenheit darstellt. Im Vergleich zu seinem gefeierten Debütalbum 'I Can Go With You' aus dem Jahr 2020 nutzt Burton hier eine weitaus größere Leinwand und verleiht den darin enthaltenen Emotionen ein neues Gefühl von Dringlichkeit und Intensität. Burton hat ein Händchen dafür, reines Laurel Canyon AM-Gold zu schürfen. Pastorale Streicherarrangements blühen im Hintergrund von Sams markantem, honigsüßem Gesang auf - wie ein moderner Campbell, Orbison oder Nilsson.

Wildfire was a household name in Tropical Island music circles due to their excellent albums and performances throughout Trinidad, Tobago, the Caribbean & US Virgin Islands and French Guadeloupe. In 1962 they started off as ‘The Sparks’ (a well-respected Calypso outfit who released a bunch of successful singles) but with the release of their hit single ‘Come On Down’ from 1975, they exploded into Wildfire.

Wildfire had a very fruitful career and released four top full-length albums and a vast amount of singles before calling it quits. Led by bandleader Oliver Chapman (bass & guitar player, vocalist, arranger, producer and co-writer for the majority of the bands’ songs) and comprised out of high talented musicians, Wildfire was out there with the big boys in the niche they carved out for themselves.

On the album we are presenting you today (Time Is The Answer from 1980) you’ll find the perfect mix of funk, soul and disco, basically the popular sounds of the day, and all tracks are originals. The album is FUNKY and the production quality can rival with any of their peers and records produced/recorded in the US. The performance of Wildfire on this album is beyond excellent. This release was also the first time the group took control over production and getting their album out in the world. Also included is the hit single ‘Say A Little Prayer For The Children’ which is just one of those songs that will be stuck in your head forever.

Besides virtuoso Oliver Chapman: the talent that was featured on ‘Time Is The Answer’ is exceptional. Anstey Hamilton carries around a rich noticeable tenor voice. Arthur Byron who also did vocals on the album, has a beautiful rasping tone that can knock you out anytime he gets into his act. Fitzroy Isaac on keyboards and Donald Leid on drums are the guys that were responsible for keeping the groove tight. Clifford Wilson like Oliver had been with band since the start. He is calm in his approach, he played the bass guitar and sung background vocals, he also chipped in with Oliver whenever they wrote songs together. Finally we have Cyllan Charles, who was known as the Wildfire voice. Cyllan had been doing most of the lead vocals since he joined the group in 1972, he was the most experienced of all the members, and can really take you to higher heights anytime he gets into doing his thing both on stage and on wax.

“Time is the Answer" by Wildfire is a scarce and increasingly sought-after LP. Filled with hit-bound songs it comes as no surprise that the album has now become a much-wanted item due to its addictive and original-sounding nature. This is a must-have for any self-respecting record digger!

Frontier's Edge is the new EP by the fiery, energetic and genre-defying group The Budos Band. After a two-decade run with the legendary Daptone Records, Frontier's Edge is the first new music from the group on the new label, Diamond West Records - run by The Budos' saxophonist Jared Tankel and guitarist Tom Brenneck. The Budos Band's departure from Daptone was on good terms; the split from their long-time home base was an organic result of the band's evolution. "It's just a natural growth," Brenneck says, admitting: "We're going further away from the sound of Daptone and into territory they probably wanted to stay away from." As a result, Frontier's Edge finds the group hungry, passionate and primed to charge into their next epoch newfound sense autonomy within the collective.

"We're a powerhouse in the studio; we can produce ourselves," Brenneck says proudly of a long process of self-containment. "I take the helm, but the band, they know what they want." As expected from The Budos Band, Frontier's Edge resists analysis; it represents the band as they are: a contained explosion.

You don't pick apart Frontier's Edge; you feel it all at once. "Somehow, we wrote six songs in two days," says The Budos' drummer, Brian Profilio. "Tom was able to take what we were doing and put it together in a cohesive manner." Whether this is your first rodeo with The Budos Band or you've been following them throughout their two-decade run, Frontier's Edge contains their musical universe - Afrobeat, Ethiopian music, proto-metal, any number of other streams - in microcosm.

Frontier's Edge is the new EP by the fiery, energetic and genre-defying group The Budos Band. After a two-decade run with the legendary Daptone Records, Frontier's Edge is the first new music from the group on the new label, Diamond West Records - run by The Budos' saxophonist Jared Tankel and guitarist Tom Brenneck. The Budos Band's departure from Daptone was on good terms; the split from their long-time home base was an organic result of the band's evolution. "It's just a natural growth," Brenneck says, admitting: "We're going further away from the sound of Daptone and into territory they probably wanted to stay away from." As a result, Frontier's Edge finds the group hungry, passionate and primed to charge into their next epoch newfound sense autonomy within the collective. "We're a powerhouse in the studio; we can produce ourselves," Brenneck says proudly of a long process of self-containment. "I take the helm, but the band, they know what they want." As expected from The Budos Band, Frontier's Edge resists analysis; it represents the band as they are: a contained explosion. You don't pick apart Frontier's Edge; you feel it all at once. "Somehow, we wrote six songs in two days," says The Budos' drummer, Brian Profilio. "Tom was able to take what we were doing and put it together in a cohesive manner." Whether this is your first rodeo with The Budos Band or you've been following them throughout their two-decade run, Frontier's Edge contains their musical universe - Afrobeat, Ethiopian music, proto-metal, any number of other streams - in microcosm.

With »Discreet Music« (1975), »Music for Airports« (1978) and »Thursday Afternoon« (1985), Brian Eno invented a new music genre, Ambient Music, which he defined as »able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting«. These versions performed and arranged by Dedalus Ensemble, according to the musicians and the critics who listened to it, goes beyond what we expect from it. A mental base that takes us far away. One of the only music without beginning or end in which we want to stay as long as possible.

The Dedalus Ensemble is a contemporary music ensemble based in Toulouse, founded in 1996 by Didier Aschour. Its repertoire includes works by classics of minimalism such as Christian Wolff, Phill Niblock, Frederic Rzewski, Tom Johnson, Moondog or Philip Glass.

Frontier's Edge is the new EP by the fiery, energetic and genre-defying group The Budos Band. After a two-decade run with the legendary Daptone Records, Frontier's Edge is the first new music from the group on the new label, Diamond West Records - run by The Budos' saxophonist Jared Tankel and guitarist Tom Brenneck. The Budos Band's departure from Daptone was on good terms; the split from their long-time home base was an organic result of the band's evolution. "It's just a natural growth," Brenneck says, admitting: "We're going further away from the sound of Daptone and into territory they probably wanted to stay away from." As a result, Frontier's Edge finds the group hungry, passionate and primed to charge into their next epoch newfound sense autonomy within the collective. "We're a powerhouse in the studio; we can produce ourselves," Brenneck says proudly of a long process of self-containment. "I take the helm, but the band, they know what they want." As expected from The Budos Band, Frontier's Edge resists analysis; it represents the band as they are: a contained explosion. You don't pick apart Frontier's Edge; you feel it all at once. "Somehow, we wrote six songs in two days," says The Budos' drummer, Brian Profilio. "Tom was able to take what we were doing and put it together in a cohesive manner." Whether this is your first rodeo with The Budos Band or you've been following them throughout their two-decade run, Frontier's Edge contains their musical universe - Afrobeat, Ethiopian music, proto-metal, any number of other streams - in microcosm.

Irish DJ and producer, Ben Prophet, has caught the attention of some of the electronic scene’s most influential names in recent years. Currently residing in the underground music hub of Newcastle, his dark and exhilarating tracks have proven to captivate dancefloors. Now the artist is set to embark on his most monumental release to date, with the four track EP ‘From Dusk’. Staying distinctly true to himself, the EP channels Prophet’s love for bassline, electronica, and techno, whilst placing a key focus on mechanical vocals that add a mind-bending element that listeners can get lost in. ‘From Dusk’ will be released to the world via HAAi and Alice Pelly’s Radical New Theory label, a proven base for projecting emerging talent.

‘From Dusk’ is an EP that serves as a bold declaration. Prophet was determined to take listeners on a journey across the four tracks. Never resting on his laurels, the artist ventured into many corners of the dance world, whilst maintaining a core signature sound. Opener ‘Telepathy’ Sees Prophet build an emphatic, heavy hitting techno track, centring around a manipulated spoken-word vocal. It’s a sound that holds nothing back and is showcased again on ‘Down The Rabbit Hole’. Equally dark in its design, Prophet once more places distorted vocals at the forefront, this time displaying an industrial take on breakbeat. On the flip side, we see ‘Ocarina’ and title track ‘From Dusk’ turn the dark energy on its head with a distinctly melodic approach which adds a touch of psychedelia and high emotion to the EP. What’s clear is there’s something on ‘From Dusk’ for anyone that loves club music.

Speaking on the release, Prophet states:“HAAi has been one of the biggest inspirations for my sound, so to have become friends and to release my music on her label Radical New Theory is a massive moment for me. I’ve taken a different approach on each track, but each has my signature sound and is ready for the dance floor.”

HAAi also offers an insight into why she wanted to release ‘From Dusk’ on Radical New Theory: “Ben Prophet’s tracks have such a driving force and a dark energy to them, which is so powerful in the club. I’m extremely excited to get this record out in the world.”

Prophet’s previous releases ‘Hyper Funk EP’ and ‘King Of Rock’ on Chapeau music and Happy Wax Records respectively reached dancefloors across the world with regular plays from the likes of Mall Grab, Skream and VTSS. His gritty and energetic productions are born for the peak-time dance floor where its power creates intoxicating effects. No longer a hidden gem of the North East, the artist's music has gathered serious momentum and ‘From Dusk’ might well be the record that makes Ben Prophet a household name.

‘From Dusk’ is the third release on Radical New Theory, a label created in 2020 by HAAi and Alice Pelly which aims to shine a light on unique emerging talent, and the inevitable stars of tomorrow. Last year the label released LUXE’s debut ‘Belonging EP’ which was championed by MaryAnn Hobbs on BBC 6Music, and the artist has since gone on to tour across Europe. Whilst Ozzy, who released the labels first record ‘Een’, has since released on Barnt’s Schalen imprint. Radical New Theory was born out of a love for the craft of dance music and the careful consideration of what they release ensures the highest standards. A safe space for emerging talent, be sure to keep your eyes out for what comes next from the label

Sister Rosetta Tharpe is often referred to as "the godmother of rock and roll" for her pioneering guitar technique, use of distortion/reverb, and a 1963 UK tour with Muddy Waters that has been cited as a huge influence by Eric Clapton, Keith Richards, and Jeff Beck. Though she reached more widespread notoriety across the world in the '50s and '60s thanks to the folk/blues revival and her beloved status among UK blues and rock musicians, it's her early recordings from the late '30s and early-mid '40s that are the most brilliant, visceral, and emotional of her career. This excellent collection compiles 18 of those amazing gospel and R&B sides into one place. Essential.

The cover album to end all cover albums. Aptly entitled "On Top of The Covers," T-Pain is back with his first full-length release since the 2019 album, 1UP. Delivering his own rendition of iconic songs such as Sam Cooke’s “A Change Is Gonna Come,” Journey’s “Don’t Stop Believin’,” Sam Smith’s “Stay With Me,” & Frank Sinatra’s “That’s Life,” the singer most well known for popularizing autotune approached the album au naturale, allowing his vocals to be the star of the show.

Let It Loose is the tenth studio album by Gloria Estefan and Miami Sound Machine, released in 1987.

Initially gaining little attention in Europe, the success of the single "Anything for You" led to the album being re-released under that name, and with different cover art. It became Miami Sound Machine's most commercially successful album, certified triple-platinum by the RIAA, and peaked at number six on the Billboard 200.

Other hit singles include "Can't Stay Away From You", "Rhythm Is Gonna Get You", "1-2-3", and "Betcha Say That".

Let It Loose is available as a limited edition of 2000 individually numbered copies on translucent red coloured vinyl and contains an insert with lyrics

The 1974 debut album Ojinga’s Own and single Basa Bongo/Black Pepper by Guyanese Afro-Folk band The Yoruba Singers has been remastered for vinyl and digital.
The Yoruba Singers formed in Georgetown, Guyana in 1971. Despite their name they were not from Nigeria, but identified strongly with the area from which so many of the African diaspora in Guyana and neighbouring regions were originally descended.

The group started adapting Guyanese traditional folk music as well as writing their own - blending a mixture of protest, social commentary, blues, and genres inspired by the times. Beginning with about 12 people sharing vocal duties, most of the early repertoire was inspired
by folk songs that started life on plantations or in religious settings accompanied by a few sparse musical instruments.


Integral to the Yoruba Singers’ sound are echoes of Obeah traditions which are very closely related to the Santería religion of Cuba and the Orisha and Shango traditions of Trinidad and Tobago. Calypso and steel band culture from nearby Trinidad and Tobago was to some extent part of the musical DNA of the group, but they were naturally also influenced by the massive volume of rocksteady and roots-reggae coming from Jamaica.

Detroit's Rebecca Goldberg, aka 313 Acid Queen, releases 5 techno bangers incl. Mark Broom remix on Phoq U.

Phoq U Phonogrammen, the rebellious U-TRAX sublabel, returns after 26 years with its eight release, produced and manufactured in Detroit. Detroit native Rebecca Goldberg, who has previously released music and performed live under her 313 Acid Queen alias, will present her brand new People Mover EP at the Detroit Movement festival, on May 26, 2023.

The EP features 5 dancefloor fillers, including the Detroit-style remix by Mark Broom of the opening track Automated. The EP is inspired by transportation, industry and travel, as well as the city of Detroit of course, paying homage to the original minimal techno music and the evolution of technology and industry.

All tracks are live jams, recorded in one take on all hardware instruments. Rebecca tries to do as little post-work as possible, with just a little bit of final arrangement. Her work often incorporates field recorded sounds, and for this EP she used samples recorded while riding on the Detroit People Mover itself, the elevated automated light rail system in downtown Detroit. Goldberg started a sound walk group called Detroit Frequency and the recordings were taken on during the first event last summer.

The EP kicks off with the fast-paced Automated, that echoes the hypnotic minimal techno sound of Robert Hood. Mark Broom added an extra dose of 909 funk in his Mark Broom remix, which provides the track with even more pumping rhythms and making it sound even more 'classic Detroit'.

The B-side opens with Elevated, that features industrial-ish DPM sounds on a bed of pure acid, as if Goldberg wants us to remember why she is named the 313 Acid Queen.
Staying On meanwhile, puts a repeating DPM announcer's voice central stage, making it a fascinating piece of minimal techno. The closing track Linear Motion creates a dark atmosphere, with eerie, down-pitched DPM sounds that makes this a spooky techno trip that we believe many people will love.

Mammoth industrial & noise tracks from the illustrious B. Rupp on the outer-worldly Accidental Meetings.. Tip!

There's not much about B. Rupp, an outstanding LP on Opal Tapes sticks out, but the artist stays very much behind closed doors. They're the latest on the Accidental Meetings discography, a label whose fast growing catalogue shows no signs of stopping with challenging and forward releases.

Within the LP, the narrative is focused on fierce & noisy hardware, crunched out vocals, moody bass lines and swampy beats. All orchestrated by B. Rupp, it's a deeply personal album exploring his take on teetering the line between emotional home listening & noised out club bangers. We're keeping this short and sweet as the LP is so unique, words don't really do it justice - dig in and give it some ears.

Coming as the fourth edition, 'EP4' stays true to the series, committing Defected's biggest digital releases to wax, and delivering upfront packages of house heat previously unavailable on vinyl. Opening up the A-side is garage legend and Grammy Award winner Todd Edwards with 'You're Sorry', where his chopped-up vocal sampling, pitch shifts, and kick drums combine to create a track with true groove. Up next is underground gem 'Space & Time' (Extended Vocal Mix) from Dario D'Attis featuring Jinadu, a record that presents grooving house excellence. The B-side continues to deliver the goods, opening with Low Steppa's Defected debut, 'You're My Life', a guaranteed summer weapon for 2019. Rounding off the vinyl release is Austin Millz 'Broke Boy', where the Harlem born artist showcases his genre defying style, with vocals provided by Claire Ridgley, making a reflective and serene closure to this release.

Repress!

Coming as the eighth edition of the series, ‘EP8’ stays true to committing Defected’s biggest digital releases to wax, delivering an upfront package of house heat previously unavailable on vinyl. ‘EP8’ features four of Defected’s first releases of the decade, with David Penn’s collaboration with renowned house vocalist Roland Clark ‘The Power’ kicking off the A-Side, as Roland Clark’s mighty spoken word narrative paired with David’s rolling bassline and percussive breaks combine for a sincere and uplifting track.

Up next, Italian duo Supernova deliver their dancefloor cut ‘Can’t Stand It’, featuring Los Angeles vocalist Marley Monroe, who delivers her heavenly top-line, a track infused with Chicago house influences, Supernova’s cut is a start-to-finish groover. On the flip, ‘To Burn’ by Dennis Cruz opens, featuring Leo Wood’s compelling vocals, as a wandering bassline and vocal stabs throughout take it to the club. To round off the release, Defected regular OFFAIAH delivers his track ‘Private Show’ (Club Re-Edit), ready to ignite dancefloors with seductive vocals and tension-building drops.

Repress!

‘EP11’ stays true to committing Defected’s biggest digital releases to wax, delivering an upfront package of house heat previously unavailable on vinyl. Opening the release with two massive tracks from long-time friend of the label Dennis Ferrer, the A-Side kicks off with his stunning cut ‘Whisper’, produced alongside Disciples and James Yuill, followed by another slice of house heat in the form of his joyous collaboration with Dawn Tallman ‘Sunny Days’. On the B-Side comes another massive collaboration, this time from Idris Elba and Inner City, with their club weapon ‘No More Looking Back’. Finally, closing out the package is Endor’s ‘Fur’, the record that saw the Brighton producer return to his underground roots following the platinum selling ‘Pump It Up’.

Neue Auflage auf weißem Vinyl des 2013er Albums des englischen Ambient-Folk-Künstlers Jerome Alexander (aka Message To Bears, HIN, J.R. Alexander), das nach 3 Alben bei Dead Pilot Records in limitierte Auflage im Eigenvertrieb erschien. Mit seiner eigenwilligen und bezaubernden Mischung aus Folk, Ambient-Electronica und ätherischen Vocals teilt sich Jerome Alexander bereits mit Neoklassik-Größen wie Nils Frahm und Ólafur Arnalds.

Habibi Funk is excited to share “Marzipan” - our first full length contemporary release courtesy of Beirut’s multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif’s styling, one he terms “Lebrary”: a vision of Lebanon + Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in ’23. We always wondered why Charif’s music stayed under the radar for so long, that all changes with “Marzipan”.
Charif Megarbane, the staggeringly prolific producer, instrumentalist, and all-around musical mastermind returns with full LP “Marzipan.” Following his previous release of EP “Tayara Warak” in 2022, “Marzipan” is a sonic journey that seeks to capture the full scope of Megarbane’s habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane’s own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis (“Souk El Ahad”), the warm atmosphere of the Lebanese countryside (“Chez Mounir”), or the lushness of a Mediterranean beach resort (“Portemilio”). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share “Marzipan” and finally throttle this under-theradar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane’s LP sounds as fresh—as resolutely inspired—as a debut record. “Marzipan” continues down the winding path he trod on EP “Tayyara Warak” (released Decmber, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane’s greatest talent seems to be his open ears. In many ways, “Marzipan” is a cartographic feat — it travels and traces a journey across many dimensions (both sonic and physical). Megarbane’s instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician’s instrumental dexterity. “Marzipan’s” closing track “Bala 3anouan” can be translated loosely to “without address” — a fitting final word. Despite the entire record being a sincere testament to Megarbane’s environmental approach to music-making, the record is not bound to any particular coordinates, or any particular sound for that matter. The vastness of his influences — beloved artists like Ahmed Malek and Issam Hajali (both Habibi Funk veterans); West African funk deep cuts; European cinematic scores; et al — result in a record of somewhat unparalleled expansiveness. Floating melodies and frantic rhythmic interludes both find natural homes across “Marzipan.” The record is tinged with psychedelic elements—fuzz-drenched guitar, sliding microtonal interludes, hypnotic rhythmic breakdowns. Reflecting on his creative process, Megarbane cites a stream of consciousness approach: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.” Lead single “Souk El Ahad” opens the roll-out with a raucous energy, out June 12. Megarbane abstracts busy city sounds into a psychedelic framework, casting technicolor hues on everyday experience. Following is second single “Pas de Dialogue” out June 23. The track jerks the listener towards a more meditative state with lulling harpsichord and expanding, cinematic sound. “Marzipan” will be available physically and digitally everywhere on July 14, 2023. Be sure to listen for focus track “Chez Mounir” that captures the warmth of community in a joyful, laidback groove.
Uncover greater insight into the world of Charif Megarbane in the booklet accompanying the LP

Featuring 38 tracks (as opposed to the digital release, which is only 15 tracks), This is the definitive Doom Patrol Season 1 soundtrack featuring music by Clint Mansell and Kevin Kiner. The score is fantastic, mixing electronics and more traditional string-based score elements. The central theme is one of the best in recent years, and the score is moody and magnificent yet also fun and playful. It is the perfect accompaniment to the action on screen.

The King of New York reigns with this collection from his two hit-packed LPs. Including everything from megahits “Hypnotize,” “Big Poppa,” and “Juicy” to fan favourites “Ten Crack Commandments,” “Notorious Thugs,” and “Nasty Girl,” Notorious B.I.G.’s Greatest Hits reminds you how The Notorious B.I.G. became the king!

Timeless minimalist approach to composition braced by repetition and playfulness.Alberto’s music reflects calm, focus and intimacy. Ethereal and atmospheric, his pieces operate within the digital as well as the analogue realm in equal measures. Sampling, Midi sequencing and field recordings are the instrumentation used in these 15 songs recorded on a four track reel to reel tape. Highest possible recommendation for fans of Suso Saiz,Jon Hassel, Eno or Harold Budd

“Haizetxe” which stands for wind house, is the first ever record consisting of unreleased material recorded between mid 80’s and 90’s by musicianAlberto Lizarralde in Zaldibia, Basque Country.

One of the founders of the first school of Improvisational jazz and contemporary music (Jazzle) established in San Sebastián to In the early 1990s,Alberto is a well-known figure among Basque musicians but not so much among the general public. In his professional curriculum we find the direction of the Plaza Festival, the Zirrara record company, his work as a producer, editor (editions 3e argitalpenak), the direction of the audiovisual installation JAArtzeren Unibertsoa, the arrangements and composition for the Iparraguirre 7 project, etc...And even so, he has managed to stay away from the spotlight.

In all this time he was composing and recording music, but the right circumstances never arose for its release.Thus, it has remained stored in a drawer all these years. Finally the music of Alberto Lizarralde sees the light on Hegoa label in a limited run of 300 LPs.

Lost private press gem "The Swimmer" by Florida native Danny Morgan, is a cool and breezy, beguiling easy glide from 1987. It should've been huge. It still could be. It's a mellow marina masterpiece and quintessentially Balearic. Over the past few years, it's gathered a cult following yet the album from which it derives is virtually impossible to come by.

Finally available on a standalone, fully remastered 12", it's been backed by an instant classic "Seahawks Swimming Through Space Remix", courtesy of those beloved cats Jon Tye and Pete Fowler.

These won't be around for long, limited to just 500 copies for the world, so don't drown in procrastination.

One listen and you'll want to dive in.

Fans of the deeply entrancing, nautically and narcotically-enhanced cuts of Dennis Wilson or Michael Nesmith’s The Prison will be instantly mesmerised by the sheer beauty of "The Swimmer". After tracking Danny down, we wanted to know more. How does something so magical come about? The man himself answered thusly:

"At the time I was running many miles on the Sanibel Island beach and doing a bit of swimming in the Gulf Of Mexico. Keeping my mind busy on a long run, I imagined a “what if” movie scene. Almost every run or swim someone is sitting there on the beach watching what goes by. Back at my desk I started finger picking some chords and the picture in my head showed up. I punched in a rhythm loop and the song was on its way.

Adrian Belew and I had the same manager Stan Hertzman so I was listening to some of Adrian’s work. I was a huge fan of Joni Mitchel and the unusual chord changes and melodies in some of her songs. All of this influenced the sound on “The Swimmer”

I had a support band at the time living in my house on Sanibel Island so we practiced a lot. We came up with an arrangement of the song and we took across the bridge to John McLane’s Important Studios and recorded it. I played finger picking acoustic guitar and sang, Tim Miller played drums, Jeff Holck played fretless bass, Dave Dust played lead guitar and John McLane played keyboards and sang harmony."

Our deep thanks must go out to Jon Tye (MLO / Seahawks / Ocean Moon) for first hipping Be With to this stunner. We returned the favour by giving him the keys to the stems and requesting a strung out remix to go on the flip - he returned having conspired with Pete Fowler to conjure a cosmically copacetic rerub with the subtropical chug of the "Seahawks Swimming Through Space Remix".

Putting together the artwork for this 12" release was an enjoyable process. It was nice to be able to flip the original sleeve for the Beach Life album by using previously unseen photos, sent to us by Danny. We wanted to create something that looks like it would've gone with the LP sleeve. We think we've cracked it. Simon Francis remastered Danny's original audio and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure this previously lost masterpiece stays forever found.

Ches Was born in Barbados, and from that faraway small group of islands comes this outstanding piece of Caribbean Soul. Like many of the artists we love, Ches had his fair share of travels and troubles. He dedicated his whole life to music pursuing that ideal of living by the dream we all keep sticking to when it comes to soul music. After the teenage years spent listenting to the sound of the American Black Music legends of the times, whose frequencies made it to the radio stations in the middle of the Atlantic Ocean, he decided to pack up and go big studying music in New York City thus finding he was gifted with songwriting, where he always puts soul, jazz and a touch of reggae music. Wirl label (West Indies Record Ltd.) was his recording home with which he released a number of tunes both solo and with his band The Outfits. He then traveled far and wide, spending a couple of years in Canada (another proof of Canada’s music industry solid ties with the sound from the islands), eventually ending up where Funk Investigators’ patrol member Yann Vatiste has found him and secured the license for this release. Stay tuned for more tales about this man, he might be closer to you than you think.

Celebrate Hip-Hop At Fifty with this 25th Anniversary Compilation Album produced by Sean "Puffy" Combs and featuring the biggest hits from the early days of Bad Boy. Tracks include a who's who from the Bad Boy lineup, including The Notorious B.I.G., Mase, Faith Evans, Craig Mack, 112 and Diddy himself. This Limited Edition Black & White Split Vinyl also includes Exclusive Bad Boy Vinyl Etching on side D.

"No Jacket Required" is the highly successful third solo album by Phil Collins. Released in 1985, it features a blend of pop, rock, and R&B. With hits like "Sussudio," Collins' soulful vocals and catchy melodies dominated the charts. The album's polished production and heartfelt delivery solidified Collins' status as a prominent figure in 1980s pop music.

On their sophomore effort Tusky, surrealist duet Robbie & Mona ascend beyond the lo-fi scrawlings of their debut album to something altogether more grandiose. Between the lights down drama of sprawling opener ‘Sensation’, to the ‘roll credits’ coda of closer ‘Always Gonna Be A Dead Man’, Tusky exists as a glitzy, lucid journey playing out before the listener.
While debut album EW captured William Carkeet and Ellie Gray as they were finding their feet with one another, creating Tusky was a wholly symbiotic process from day one. “We got better at knowing what each other wanted,” William offers. “This was the album that we were trying to make from the beginning.”

Simultaneously evoking multiple eras of music, the album drifts through worlds of synth pop, jazz, trap, drill, ballroom waltz and leftfield electronica, with the scatterbrain sound palette melded by a peppering of instrumental motifs and William’s addiction to sampling sounds across multiple tracks. “I wanted there to be this weird dimensional thing going on,” William explains, “where songs from the album are playing in multiple places.”

The record sees an expansive cast of musicians assembled, with a much heavier focus on live instrumentation than previous outings. Alongside the expected fare of crackly synths, samplers and drum machines, Tusky gets its glossy sheen from a rich tapestry of jazz drums, double bass, grand piano and saxophone.

Most of the tracks are laden with improvised saxophone from Campbell Baum (Sorry, Broadside Hacks) and Ben Vince (Housewives, Joy Orbison), much of which was scrambled by William in post-production, lifting scraps from one song and layering them atop an entirely different track. Elsewhere, session musicians were cherry picked, including Bingo Fury, his drummer Henry Terrett, and a string ensemble led by Caelia Lunniss and Jo Silverston (Spindle Ensemble).

Most surprising is a rap feature from Monika (of South-East London collective Nukuluk), who brings album centrepiece ‘Mildred’ to new heights with a fiery verse on pain. Aside from being the most unlikely addendum to a sombre piano ballad, it demonstrates Robbie & Mona’s natural state of playfulness, forever following emotions and sensuality over any notion of traditional compositional boundaries.
Many of Tusky's tracks owe their inception to cinema, be it the soundtrack to Betty Blue, the glowing films of Wim Wenders, or the surprising parallels between La Belle Et La Bete and Bad Boys. Equally, much of Robbie & Mona's new-found sense of tension and spectacle comes from William’s recent work soundtracking independent filmmakers, while Ellie gave greater priority to threading a narrative through her stream of consciousness writing style.

In all its majesty, Tusky celebrates creativity with creation. “If you begin to see fiction as real, you can reincarnate and become different things. You can grow,” Ellie implores. “Nothing stays the same. You can shed old characters in yourself. There’s great joy in that.”

Created In the heart of Athens, GA with their trusty- producer, Henry Barbe (Deerhunter, Drive By Truckers) You Know Who is an 11-song record that pushes the boundaries of modern country and rock n' roll music. The Pink Stones sound takes influence from recordings of George and Tammy, as well as J.J. Cale's self produced Tulsa sound. The record is also just as inspired by the windy city cuts of Curtis Mayfield, all styles that covers the band's sound in cigarette smoke and whiskey spills. The six piece band has utilized their performing chops to make a tight but soulful album with featured guests such as Nikki Lane, Jack Quiggins and Ryan Jennings (Teddy & the Rough Riders), John James Tourville (Deslondes), and Annie Leeth (Faye Webster). No strangers to friends and guests, this ramshackle unit formed together flawlessly to take the next leap into The Pink Stones deep sphere.

Kultrocker orchestrieren Anti-Nazi Kampf auf der dunklen Seite des Mondes.

Nach der Veröffentlichung der 'Love Is Still Alive' EP präsentiert die slowenische Kultband Laibach ihr brandneues Album und den Soundtrack zu 'IRON SKY : THE COMING RACE.'

'The Coming Race' (Regie: Timo Vuorensola, 2019) ist die Fortsetzung des Films 'Iron Sky' (2012), in dem Nazis planen, die Welt zu übernehmen, nachdem sie in einer geheimen Militärbasis auf der dunklen Seite des Mondes geschlummert haben. Laibach wurden beauftragt, die Musik für die finnische düstere Komödie zu komponieren, die Kultstatus erlangte und über Crowdfunding mehr als 1 Million Dollar einbrachte, wobei ihr Original-Soundtrack weithin gelobt wurde.

Dieser Soundtrack ist genauso episch und cineastisch wie der erste und bietet eine musikalische Reise mit orchestralen Scores und Bonussongs auf der CD und dem Download, darunter der Track 'The Coming Race', der die kraftvollen Vocals der slowenischen Grammy-Gewinnerin Amaya in den Laibach-Mix einbringt.

Schwarze LP mit ausführlichen Linernotes und Download Codes für Bonus-Songs

Lewis II was the follow up to Lewis Taylor's epochal, self-titled debut album. It was initially released in 2000 and this double LP release, its first ever vinyl edition, has been heavily anticipated for nearly a quarter of a century. It's often years before most listeners catch up with an album's breathtaking vision and devastating execution, and so it has proved with Lewis II; it stands up exceptionally well today.

After Island rejected Lewis Taylor's second release (later released as The Lost Album), he returned to the studio to record Lewis II. Less esoteric than Lewis Taylor, Lewis II is a more polished, sophisticated funk and mature uptempo soul than the dark psych-soul of his debut. The production, whilst slicker, is a bit tougher, with more crisp, R&B-flavoured grooves and head-nod beats and more bass pumping up his voice. The vocal intensity present on album number one doesn't abate. Indeed, as Lewis himself noted, "my voice is better on Lewis II and the vocals are high in the mix."

The moody funk of "Party" sounds like a mad blend of Riot-era Sly Stone and Brian Wilson. It rides a stuttering drum machine groove with acapella harmony vocals arriving halfway through to stay for the duration. "My Aching Heart", with its clean, slick, late 90s R&B drums, could surely have been a single. Perhaps Lewis's idiosyncratic melodies would've been too challenging for the charts. Lewis *had hoped* "You Make Me Wanna" would be a single but the dank, organ-drenched groove, coupled with the growling eroticism of Lewis's vocals would've, again, made this beyond the pale for most mainstream music fans. Somewhat incongruous acidic synths and bleeps give way to a laconic summertime groove on breezy highlight "The Way You Done Me", all funky acoustic guitars and stunning, good-time vocals. Sumptuous ballad "Satisfied", a real fan favourite, marries unusual instrumentation with classic soul-ballad structure and closes with a monster guitar solo which almost out-Princes Prince in its gritty melodicism, set against sweeping strings of real majesty. Prog-Funk-Rock!

The dubbed-out, spaced-out "Never Gonna Be My Woman" is the closest the album comes to classic D’Angeloesque neo-soul, with echoes of the esoteric funk featured across Maxwell's contemporaneous Embrya. But what follows is on some next level business. As Lewis's biggest fan, Geoffrey Scull, noted, "the "I'm On The Floor" / "Lewis II" / "Into You" song cycle stacks up against any other consecutive 15 minutes of recorded music, ever!" And who are we to argue with that? These could've been hits for Justin Timberlake during his fascinating Timbaland-collaborating days, such is the sonic and textural pop experimentation at play here. The extraordinary title track sounds like an outtake from Marvin Gaye’s Trouble Man and spends its last third as a searingly dark piano-led psychedelic-guitar-crunching soul instrumental. Just astounding. And then. AND THEN! The way it segues into, er, "Into You" is just straight up genius. Goosebumps galore on this one, no words can describe its celestial brilliance. Just kick back and be beguiled by the "Let me come on over again" refrain that ornately adorns its sensational coda. Phew.

The swoonsome, lovelorn ballad "Blue Eyes", apparently written in the spirit of Marvin’s "Vulnerable", is a lush, slow swinger with some gorgeous noir touches. To close, Lewis completely retools Jeff Buckley’s beloved, beautiful "Everybody Here Wants You" and, while talking some liberties, even manages to surpass the original. Yes, really! With soaring, fiery vocals set against icy piano and psychedelic guitars, Lewis recasts Buckley's effort as dramatic, ethereal soul.

When it came to translating the original CD booklet into a 12 inch LP sleeve, thanks to some suggestions from Cally Callomon (head of Island’s art department, who designed all the sleeves for Lewis’s two Island albums and their singles) and his trusting us with his “Lewis Taylor” folder full of various negatives, test prints and whatever else he was able to salvage from the old Island art department, we’ve gotten pretty close to what the original LP sleeve would’ve looked like if it existed. Simon Francis’s vinyl mastering, presents the eleven tracks over a double LP so, as ever, the record sounds outstandingly good. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry.

Lewis Taylor's legendary magnum opus: The Lost Album. "Now you're talking. That's my favourite LT album. Unlike all of the others, there isn't anything about it that embarrasses me." Straight from the genius's mouth. What can we say about this? Well, it's the most requested record ever at Be With Towers. The Lost Album was the intended follow-up to his first album but Island rejected it for fear of "confusing" the marketplace and its conception of Lewis as a soul artist. Their loss. It's a breezy sunset masterpiece.

The genesis of this incredible record needs unpicking a bit. Lewis stopped promoting the first album after a year and went home to record a completely different record that was the most un-R&B album you could probably ever hear: "I pushed in such an extreme direction the other way with what eventually became The Lost Album. It was a knee-jerk reaction to a perceived ‘trapped in R&B’ feeling I was going through at the time. Some people around me were in favour of it and others weren’t. In the end I think I lost confidence in it and did Lewis II instead." We did at least get Lewis II, which is a remarkable album, and he kept Island happy...for a bit. Not long after, Lewis was dropped. And what was to become The Lost Album could've been...er...lost. Forever.

Thankfully, however, Lewis and longtime partner Sabina Smyth revisited those scrapped demo tracks in 2003. They decided to re-arrange, re-record and then self-release them. So it was that the brand new version of The Lost Album finally dropped in late 2004. It's sheer perfection, and we don't say that lightly. The Lost Album was a fully 50/50 collaboration between Lewis and Smyth. As well as production, Sabina did a lot more writing on it, from the melody to "Listen Here" to the chord sequence for "Let's Hope Nobody Finds Us." Thankfully, Sabina is credited this time around.

No, it's not straight up "soul music" in the vein of his previous work. Yet, in its perfectly formed suite of one dozen songs, The Lost Album is dripping in soul. It's so warm, so effervescent and so alive with possibilities. It features deep, fresh imprints on well-loved, accessible sounds. It's a proper 70s style double album. Just one listen and the musical influences on The Lost Album are fairly self-explanatory, as Lewis recently told us, but it's always nice to hear that, in case we were in any doubt, he was definitely channeling Love, Yes, Brian Wilson, CSN, Laura Nyro and, of course, Todd Rundgren. The influences don't end there: "I’m particularly fond of my bass playing on that album, there’s a lot of Chris Squire going on which is cool."

Deep orchestral opener "Lost" is a sublime, harp-laced, string drenched gem, a cinematic, melancholic Axelrod-esque mini-epic that simply beguiles. Written by Smyth, it evokes Donny Hathaway's celestial "I Love The Lord, He Heard My Cry" from Extensions Of A Man. The only problem is the brief 90 seconds running time. It segues into the classic Brian Wilson-meets-power-pop-rock splendour of "Listen Here" which, with its outstanding extended harp-licked beatless intro, sounds like the younger cousin to Boston's "More Than A Feeling". We then drift into the ringing guitars of classic 70s rock anthem "Hide Your Heart Away". It's Lewis's personal favourite, "especially the multi-tracked guitar solo – I was listening to Boston at the time, which was fun." A-ha!

A new version of the heart-stopping, shoulda-been-a-massive-pop-hit "Send Me An Angel" opens Side B before the arrival of, in Lewis's completely correct words, "the clear standout, "Leader of the Band"; the perfect distillation of everything that album was trying to achieve." Soaring, piano-led Rundgren-esque power pop that makes the hairs on the back of your next stand on end. Truly, otherworldly. This is pure pop for now (and then) people. The simple jangly brilliance meets experimental prog-rock of "Yeah" sounds like simultaneously like prime CSNY and late 90s Radiohead (if they'd had a slightly more accessible bent and could write better tunes).

Oh, you wish The Beach Boys had continued writing amazing songs beyond Holland? Well, allow us to point you in the direction of the downlifting stunner "Please Help Me If You Can" and the warm textures and brilliant atmospherics of goosebump-inducer "Let’s Hope Nobody Finds Us". Words can't really describe the sheer beauty of these songs. So we'll stop trying. Just listen. Listen, listen, listen. Closing out this remarkable side of music, the accidentally Balearic "New Morning" should be blasting out at every sunrise set in Ibiza, this summer and forevermore.

The final side opens with the vaguely Beatlesey "Say I Love You". It's just classic, soaring pop-rock songwriting and should strictly be canonical. It's that good. The sassy, Stonesy swagger of "See My Way" injects enough rock'n'roll attitude to compensate for the rest of record's peace-loving, AOR sun-dappled vibe whilst album closer, "One More Mystery", emerging out of the rubble of the previous track, comes on initially like a Baroque-Pop George Harrison before piling crunching drums and screeching guitar solos atop the dreamy harmonies til close.

When asked what it means to have these records available on vinyl for the first time, Lewis is in no doubt: "It’s great and it’s really nice to be able to offer fans a different listening experience. There’s a whole other dimension with vinyl that taps into that whole nostalgia thing, well for me anyway. Something about the physical aspect of pulling it out of the sleeve and putting it on, it does tend to make you feel like you’re more engaged."

Lewis was adamant that he wanted all new artwork for The Lost Album vinyl sleeve and his brief was just the sort of classic tropical-beach-at-sunset you’d want to see on the front of a record that sounds like this. On the finished sleeve, the beach at sunset is just where we start out, before heading up through the painterly clouds and heading out into the stars. And yes, the lettering is a definite subtle nod to all those in-between-period Beach Boys bootlegs we all love. Simon Francis's sensitive mastering combines with Cicely Balston's precise cut for Alchemy at AIR Studios so the album sounds appropriately outstanding. The immaculate Record Industry double LP pressing will ensure this previously lost masterpiece stays forever found.

The English is Federico Jusid's sweeping, nostalgic and raw score to Hugo Blick's six part contemporary Western. Giving a nod to 1950s western soundtracks, the score is enriched by Dvořák’s String Quartet No. 12. known as the "American", written during Dvořák’s stay in America, and only three years after the events of the series. Also featured on the album are the beautiful folk songs by The Wailin' Jennys, Melanie, Crooked Still, Ora Cogan and Tom McRae. The second track on the album, Tâtačiksta_ - I Cherish You, features a tender reading by Emily Blunt.

Jusid’s music structure is based on leitmotifs, very simple and symmetric, constantly varied and developed to mirror the protagonists’ journeys. Big orchestral sounds underpin epic and romantic themes. Sound design, processed percussion and ethnic instruments effortlessly blend in with the orchestral material. Federico describes his compositional process – “Unlike other projects, I started working with Hugo Blick, at a very early stage, some time before he even started shooting. Inspired by the scripts, his story board and chatting about the classics, I wrote different piano tunes and first mock-ups and sent them over to him… Often, I have received scenes cut to my own music and that made the process deeply organic and profound. The music became a core element of the structure of the show, instead of a later addition. In the end, Hugo and I worked for an entire year to develop this score”.