Tracklisting:
A1 Andy Ash - You_Me
A2 Andy Ash - You_Me (Mark E remix)
B1 Andy Ash - Momentary Days
B2 Andy Ash - Reach
B3 Andy Ash - Rico Rico!

Sales Note
Assured UK house producer Andy Ash takes care of the next EP on SAFTX while the equally esteemed Mark E steps up to remix.

For well over a decade now, Andy Ash has been turning out high-quality house music on a range of labels. Last year he served up a tasteful full-length on Quintessentials, the year before he dropped a double 12" on Still Music and he is also a regular at the likes of Delusions Of Grandeur. From deep and dusty to disco-tinged and dynamic, he has a stylish sound that is well-versed in the classics but always his own twist. He shows that again here with four fresh tunes which cannot fail to make you feel good.

Opener 'You:Me' features Faber and os brilliantly warm house groove. The drums and hi-hats are prefectly designed, the vamping chords bring a playful funk and swirling pads add diffuse late-night energy. It's timeless cut with nods to the US midwest and subtle vocal sounds.

Remixer and Merc label boss Mark E has a rich history of edits and originals on the likes of Running Back, Delusions Of Grandeur and Studio Barnhus. On this version, he lays down hazy, heavy kicks for a beatdown workout that comes alive with gorgeous synt work akin to all the best Detroit dons.

Ash's 'Momentary Days' is a slow and roomy, dubbed-out house swinger. Well-placed samples - vocal coos, guitar riffs, jazzy chords - all peel off the loose drums and can't fail to get you moving. 'Reach' is another humid house cut for cosy back rooms and basements. The Scruffy drums have frayed edges while dreamy melodies loop up top. It's a heartfelt sound that slowly turns you to deep inward reflection.

Last of all is 'Rico! Rico!', a downtempo jazz-funk jam with crisp broken beats, keys that take you to the Riviera and strings so lush you can almost feel the sun on your face.

This deep house music as it should be - raw, expressive and full of human soul.

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Tracklisting:
A1 Chris Gray - Forage The Courage (What Could Be)
A2 Chris Gray - Woks & Their Toasted Sesame
A3 Chris Gray - 3s Then A Flour
B1 Chris Gray - Bring It To A Simmer
B2 Chris Gray - Freshened With Seductive Acidity
B3 Chris Gray - It's A Bad Day When The Store Locks Away Detergent
C1 Chris Gray - Fennel & Dill Pollen
C2 Chris Gray - The Rest, In Peas
C3 Chris Gray - Flan De Qoi Choi
D1 Chris Gray - Tikka Luvr
D2 Chris Gray - The Puttanesca Caper
D3 Chris Gray - Every Child's Pots & Pans
D4 Chris Gray - This Game Hen's Game's On

Sales Note
Cosmic Simmering is a very personal new album of unreleased material from Chris Gray on saft. The 13 track album has been composed of previously lost archives, restored DAT tapes and old CDs and it plots the musical evolution of one of house mysic's most underrated artists.

Work on this album started in March 2020 when Chris started digging around in his archives. Some of what he found was sketched in the late 80s, while other tracks were written a few months after Chris moved to Chicago and was living in his uncle's south side attic in early 1993. There are also some cuts from 1995 onwards which have been salvaged from deteriorating DAT tapes after a friend of CHris fixed his player. There is also a selection of early 2000s deep4life material taken from 20-year-old backups on cheap CDs, all brought back to life for this record.

Cosmic Simmering is a beautifully widescreen album that works equally on mind, body and spirit.

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Tracklisting:
A1 Pablo Valentino - Look Deeper
A2 Pablo Valentino feat. Patchworks - X-Rousse
B1 Pablo Valentino - Bagaço
B2 Pablo Valentino - Bagaco (Seb Wildblood remix)

Release Note:
Saft's X series signs up accomplished French house artist Pablo Valentino for a new EP that features Patchworks and includes a remix from Seb Wildblood. Valentino hails from East France but his work has made a global impact. He runs FACES Records and is A&R for the cult MCDE Recordings. Next to that he DJs around Europe and has produced both solo and as part of collectives such as Creative Swing Alliance and Hipster Wonkaz for labels like MCDE, Eureka and Room With A View.

Atmospheric opener "Look Deeper" is a rough and steamy deep house cut for cosy basements. The drums are raw and alive, the lead synth is haunting, and the keys bring a jazz feel while vocal coos add some serious soul. French jazz, soul and deep house artist Patchworks guests on "X Rousse", a freewheeling jam with loose-limbed drums and funky chords. It channels the spirit of Moodymann and is sure to bring heat to any party. The final original is "Bagaco"; a bubbly and percussive number underpinned by warm bass stabs. The dynamic groove never rests and raw claps amp up the energy throughout.

Seb Wildblood is a driving force in the South London scene thanks to running Church, All My Thoughts and Coastal Haze. From house to downtempo, leftfield to techno, he has a broad stylistic range that always looks forwards. His remix is a celebratory broken beat workout. It's all about big stabs, soulful smeared chords and cutting loose on the dance floor without a care in the world. Once again, The Saft X series really brings the heat with this fresh EP.

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This summer, Saft welcomes Dubbyman after a three-year hiatus from releasing music. He serves up a gorgeous new EP in the SAFTX series that features a remix from Detroit mainstay FIT Siegel.

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When you find DJ Sotofett and Telephones on remix duties for the mighty Joan Bibiloni it's sure to be a treat. For the 22nd installment in the Saft series, two of Bibiloni's greatest numbers from "Born" (1989), are re-imagined for the occasion.

Sotofett opens up the A-side with an extended version of Bibiloni's "El Sur". Clocking in just under twelve minutes, the so-called "mastermix" is a version in the vein of the extended disco singles from the era of the original. Sotofett's supernatural dancefloor touch centers around Bibiloni's guitar-licks that gently slide along and communicate with the other elements of the original. This is a version to close a night with - or better yet - to close a summer set just before sundown.

The B-side contains a reworked version of "Sa Fosca" by another Norwegian artist: Telephones. "Telephones Coastal Dub", is another lengthy endeavor. The ten (and something) minutes long venture keeps in line with the Mallorcan character of the Bibiloni sound, while giving it a subtle touch of dancefloor, complete with the signature lead of the original as the focal point. The extensive intro and the balance between breeziness and firmness is sharply done

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Ross Ferraro is a seasoned producer from Australia that has been making waves as 1/2th of The Posse, - after a Posse remix on the Pulp side of things, Ross Ferraro now presents his first outing as Rosario on the Saft mothership. "Keep On EP" contains three originals and a remix by Adam Feingold's under his Ex-T moniker.
The title track is a breezy affair that combines crazed synth swirls with oddball disco FX and a tight section of drums which serves as the perfect opening track for this overall outgoing record.
"Ex-T's Phunqy Mix" starts off in a more timid way, but as the name suggests - quickly gets more extrovert and freakish. Vocals and experimental sounding blips and blops take over and cleverly come together in an original fashion.
"Lo" revolves around an tribal sounding chant, chord hits and an array of fx, and quickly becomes - while remaining quite stripped down - the most euphoric track in this collection. The chords sit beautifully with the bouncy drums and evolving arpeggiator that floats on top.
"Follow Me" is a silky smooth work with a soothing vocal and piano sample that work as the main sounds. Rosario is constantly altering the bass sound throughout this cut and creating a modern boogie ambience. The trance inducing synths suggest a relaxing evening atmosphere and cause for "Follow Me" to be the perfect farewell cut.

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After a five year release hiatus, in 2018 Yura Khlop is putting out music under his SE62 alias again. "Jazzed EP" is the second release in the SAFT X series and the Kiev based producer has delivered a class record.
The A-side opening track; "Swing Tool" is built around more jazzed out samples than the other tracks. SE62 cleverly plays original notes together with a hazy sample that serves as the core element. "Jazzed EP" will be available through all specialized retailers in the autumn of 2018. On A2 we find "July". Again a very dance floor oriented record with taints of emotion. The very present chord and bassline dominate the tracks structure until at one point; a beautiful sample is introduced. Positive sounds for lovers of classic deep house.
The title track "Jazzed" is a signature piece of thumping deep house, using swinging MPC style drums and an evolving digital piano riff. This together with some submerged sounding sample shots, create a dance floor worthy ambiance. After "Jazzed", we find "Pitch Black", a sample-heavy jam that is based around a set of characteristic drums. A swinging chord and an infectious chord progression do the trick on this true dance floor record.

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The elusive producer 'Nortasun' hasn't released a record since his debut 'One' through SAFT back in 2016. After two years, it's time for a follow up which is fittingly named 'Two'. The track titles also resume in a fashionable manner with the opening track being titled: 'Untitled 3'. On this track, Nortasun introduces a firm rhythm that is supported by the impossibly beautiful strings that serve as the tracks key element and appear throughout. Next up is the 'AntonZap' remix. AntonZap doesn't do the stereotypical remix take on the original. His version is dub laden, otherworldly, and only implements miniscule pieces from the original take. With just under 7 minutes, the remix version is a true sonic voyage.
on the B-Side, Nortasun takes a more dubbed out approach to modern day house music. 'Untitled 4' is a work of precision. The carefully crafted hats and dub elements sizzle throughout the entire track and help the track morph into a stunning piece of dance floor music around the four minute mark. Nortasun cleverly introduces a thumpientire ng bass that changes up the mood for the work. Nortasun's 'Two' will be available through all specialized retailers just after the summer of 2018.

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Dublin based musician Lerosa has built an impressive discography throughout the years. With his first efforts dating back to 2005 the producer who has a broad palette of sounds has already been around for over 10 years with releases for a vary of respected labels. For the first release on SAFTX , Lerosa hands out a taster of the labels new series ambitions. Vivrant house music is most definitely the back bone of Playa De La Guancha as a whole. The opening is packed with a strapping rhythm section and a vocal cut that is reminiscent of the Trax Records classic House Nation . Julius Steinhoff (of Smallpeople fame) gives Soul Tracing a modern sounding treatment that completely shifts the feel of the original and turns it into an adventurous piece of contemporary electronics. Lerosa opens up the B side with Bruised which is a work out of alternating basslines and brutal machine claps that give the piece a club oriented feel. Acidic sounds cut through the mix with determination and wobbly synth sounds serve as a pleasant sauce for this intergalactic sounding work. Marauder is a hefty bit at a slower tempo than it s predecessors. A loose rhythm section is causing for the listener the focus on the immense LFO threated sounds that float on to and the low down bassline that supports the overall atmosphere in a grounded manner. Playa De La Guancha will be available through all specialized retailers starting early April.

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Taylor Freels has built quite a strong catalog over the years. His work under his Urulu moniker, is widely regarded as top quality deep house and 'The Banshee EP' continues in this fashion. The title track has a dreamlike atmosphere to it. 'The Banshee' is a work that will strike a chord with lovers of the ocean-influenced sounds and hazy atmospheres. A strong presence of strings and dubby sounds, create a certain laidback mood that is perfect for sun drenched days in the park. Chicagoan producer "Garrett David" builds on the hazy atmospheres of the original, while adding some melodic elements to his remix of 'The Banshee' where he cleverly shifts between scales and different moods. 'Quadrant Beat' is a warm track that is built around warm chords and fashionable drum sounds. Again, Urulu makes sure to weave some outgoing dub elements into this b-side opening track. 'Romance Track' is most likely one of the Berlin based producer's most melodic works to date. Beautifully executed piano hits flow together seemingly easy over a sturdy rhythm that serves as the track's backbone. "The Banshee EP" is a work of lush deep house and an excellent addition to both Urulu's repertoire and the SAFT label catalog.

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With Adryiano and Kastil on production duties for their Loskober alias (which first emerged through Soul Notes in 2013) the 15th SAFT release has some serious sounds on it. Apart from the two originals this time around the label has acquired remixes from the likes of 'Keita Sano' and Berlin based Australian 'Andy Hart'. Ranked 38th is a slab of tough disco tainted sample house with tight drums and a catchy phrase to highlight the dance floor nature of the opening track. For the sophomore track Japan native Keita Sano rewords the title track in an original fashion using the main elements while layering this with outlandish percussion and elevating FX. On the B side we find the modern classic sounds of 'Lake Michigan'. This is a piece of dance floor oriented music in the vain of the much appreciated sounds from the motor city heydays. Touching pads collide beautifully with the spacious bassline and the courageous drum work. For the B2 position, Berlin based 'Andy Hart' cleverly reworks the sounds of 'Lake Michigan' to a more contemporary house track without losing the central focus of the appealing bassline.

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When talking about sought after records in House music, Chris Gray's ''Sweetness You Bring'' which was first released through his own ''Deep4life'' imprint in 2000 will definitely come up as a golden grail every now and then. After enquiring about this release SAFT and the artist got the idea to re-issue this classic together with two alternative versions plus a ''Crue'' remix. The outcome is a solid 12''. SAFT13 opens up with an interpretation of ''Sweetness You Bring'' by Chris Gray's very own ''Moonchildren ''project, this version is a somewhat more melodic edit of the original. After this, the highly sought after original version of ''Sweetness You Bring'' comes up. Naturally the EP is built around this track which has proven to be a modern day classic. The Crue remix on the B1 position is a version where the signature vocal cut is being left out and the drums are altered big time which leads to a more dubbish version of the original. Chris Gray's Sultry version of the Title track is definitely the hardest hitting track on this EP altering the total mood with the use of firm built drums and funky organ sounds.

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With the eleventh installment in the SAFT series in place, the label has already celebrated their landmark tenth release. For the new record, the label has some adventurous sampling going on by the likes of "Ian Blevins" and "NY*AK".

Grasscutter EP is a balanced journey through uncanny rhode sounds, samples and lusty vocal cuts. The title track is a mid-paced belter that reminds one of a hazy jazz club, which of course strikes the right chord for a SAFT opening track.

The two producers continue to a more swift tempo with hefty sample use on "Good Feeling", a track that tends to evoke a more euphoric feeling whilst maintaining the overall lush vibe.

"Good Feeling" uses extrovert drums and choppy vocals to lay down a firm atmosphere. The B1 track "Work it Out" returns to a slower pace where Square basses are gently placed on top of shuffling drum patterns that subtly guide the vocal sample that is treated with a wash of delay.

New York based "DJ Nature" reworks "Work it out" with the use of a glidng bassline and some snappy piano chords. SAFT11 will be available through all good electronic music retailers starting December 2015.

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SAFT10 is a boogie infused record by Grodno Based producer 'Four Walls'. Seemingly effortless the Belorussian newcomer to the SAFT family knits up an ecstatic wash of synths, pads and modish drum patterns. The opening track 'Limits' takes one into orbit with it's psychedelic synth sequences and moody rhodes. The track begins to ride half way which caters for an euphoric vibe in any setting, club and at home. The A side follow up continues in a more positive fashion on Electronic Side. Bright rhodes are alternating with sublime synth sounds and advanced drum programming. SAFT Regular 'Paula King 'joins' Four Walls' on the summertime hymne, 'Time To Shine'. This is a true house track with positive vibrations, reminiscent of some early 2000 Garage anthems. Chicagan of Rush Hour fame 'Vincent Floyd' twists things round on the B2. His rework for 'Time To Shine' revolves around characteristics but lush synth work that tempers the euphoric mood of the original and gives it some bite.

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Versatile Parisian Jay Ka, offers a slow dripping slice of deepness to the SAFT following. With the help of Paula King on vocals, title track Only Grace is a reminiscent anthem with strong vocals supported by lush chords and smokey rhode hits. As a real single should, this package also offers 3 interpretations of the original. With remixes by Briton NY*AK and Atlanta situated Kai Alce, this SAFT output should grab your full attention easily. Where NY*AK's rework maintains a more repetitive vibe with nicely timed vocal cuts, Kai Alce's 'Late Night' interpretation recalls classic vocal-house reworks from the glory days of extended 12inch mixes. As usual for a complete single like this, an instrumental version of Kai Alce's rework is included.

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Gear appreciating Italian 'Giorgio Luceri' enters the SAFT dome with the machine driven 'Liger EP'. On the opening track 'Liger' Giorgio cleverly paints an elusive ambiance using jumbled drums and an appealing bassline together with a continual synthline that nicely sits on top of the serene pads that give rise to an intense atmosphere. The B1 side opens with similar soothing pads that gradually change when the immense bassline and full bodied kick drum come in. Giorgio again creates a somewhat adverse vibe which helps to give it a hint of lushness. For the B2, Chicago legend 'Gene Hunt' contributes with a massive percy remix for 'Liger'. A lot of drum action is present in this club oriented (yet deep) roller. As far as remixes go, Gene Hunt proves to be a craftsman of high stature. SAFT06 will be available from all good retailers from late January 2014.

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Repress!

* A legendary yet long lost crown jewel from the early 80s Japanese Electronic and Jazz Rock scene
* new powerful master, much appreciated by the artist
* 2LP in UV-glossy laminated gatefold sleeve with OBI
* includes A1 Poster 60x60cm and lyric sheet
* vinyl comes in Japanese Katta innersleeves

Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as “Mariah” was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here.

The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone.

As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese.

An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes.

Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to.

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Three murderous steppers dubs on a propulsive, rat-tat-tat rhythm, combining mystical spaciousness with detail and ferocity. Angry-lion bass and smears of brass, fusillades and explosions, scares and shocks, oriental pentatonics, clattering percussion and synthy transcendence… the business. The second mix is nastiest; the third is the wildest and most discombobulated (and our favourite).
Letter-pressed, poly-lined sleeves.

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Precious, timely, moody reflections on migrating from Côte d’Ivoire to Moss, in Norway, over ruff breakbeat funk supplied by the nimble bass-playing of Maimouna’s old man (from Kambo Super Sound), and the expert conga and kit-drumming of Stliletti-Ana (from Jesse, in Helsinki). Even in their delirium, b-boys and girls will savour traces of the Incredible Bongo Band, in the chorus. Over the eight minutes, and going deeper on the flip, the mix lifts off into a cosmic steppers dub, featuring Gilb-r alongside Sotofett on keyboards, with no let up for the dancefloor in energy and vibes.
In beautifully letter-pressed, poly-lined sleeves.
“It was in 2001 / I got the letter / A letter that said / I would travel to a cold world / Not knowing what would happen / I was full of loneliness / No country / Everyone was different / Not only skin colour / The way people spoke / The way people behaved / That’s the adventure / Obey / This is the story we’re told / The key to success / So we can do everything for our parents / Who need us / Desperate for a better life / That’s the adventure.”

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DMX Krew is back on Furthur Electronix! Here with a fine versatile EP, ranging in style from tripped out downbeat to Bleepy Sheffield style bass techno and acidic breakbeats. All in all another fine release from one of our greatest living underground legends.

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Noise, art, experimental music band Gray, founded by Jean-Michel Basquiat in 1979, has released their 2nd album titled, “Last of the Beats,” a reference to the lyrical poetry featured on the album, inspired by the likes of Allen Ginsburg and William S. Burroughs (Gray's first album was “Shades Of…,” released in 2010, a true collector's item today). Original Gray members Nick Taylor and Michael Holman conceived of this sonic and verbal work of conceptual and intellectual beauty, knowing they would be collaborating with a variety of celebrated musicians and lyricists, including: James Lavelle of U.N.K.L.E. (and Mo'Wax Records); writer and Downtown New York editor Glenn O’Brien of GQ and Interview magazines; Spike Lee actor and spoken word artist Roger Guenveur Smith; music producer and Digable Planets' DJ King Britt; John Cale Band and Andre 3000 drummer Deantoni Parks; legendary Hip Hop music producer Arthur Baker; “The Widow Basquiat” Suzanne Mallouk; 1970s New York scenester and poet Victoria Galves; with liner notes written by famed American art critic Carlo McCormick

Carlo McCormick Liner Notes:

These grooves are the product of stealth engineering, improvised like an assassination five years in the planning, a conspiracy of creativity meant to slip in the truth while savoring the fiction. It's impossible to fathom just how hard it is to make something so easy, to instill endless complication within eloquent simplicity, to tear the whole damn thing down so that the jagged broken parts actually fit back together, but the slack laidback beauty of Gray is that they are not in any rush, like the slo-mo suspension of time in our hyperaware perceptions before sudden and inevitable impact, this is the sound of deceleration, an unwinding that takes your breath away.

To the last of the beats, here's the last of the at last, the song of the swan to the unborn, the clinging desire of the last dance, the just deserts of a last meal, what adheres grasping and gasping at the edge of forgetting like the muscle memory of a dream. Track by track, Gray excavate the senses and sensibilities of forlorn fables, the heroic slipping off crumbling pedestals, a city of need revamped as a city of greed, the light flickering, overcome by shadows, places and times conjured like a sonic psychogeography of passing and absence.

Their music has traveled a very long way to reach our ears, rewritten, rerecorded, recollected, remastered and renegotiated over and again by two artists, in constant dialog, spaced out in deep focus, a four-legged split personality in dogged single pursuit to somehow get it right. You can hear that distance in these songs, the harmonics of process like a reverberant echo, the undertow of an undertone, the taste of ripening.

Only the truly young can hear the ghosts singing, but it takes an old kind of wisdom to make out their words. That's the post-modern contradiction of this band; where novelty sounds classic and stories unfold as allegories of metaphors, landing from far away with undiminished urgency. Two guys, Michael Holman and Nick Taylor, stubborn enough to forge their own musical tempest apart from the meddling, marketing and machinations of any music industry, yet slick enough to enlist an unimaginably brilliant cast of collaborators, Gray is the carefully curated composition of a community, the common sound of disparate voices, the mix of the melting pot, the noise of incompatible agreements. Pastiche and pluralism, it's a collage cut up and still bleeding, the angry graffiti on a wall of sound, the melodies that linger like a sweet aftertaste of lazy pleasures, the battle cry of the vanquished sounded in the survivors' silence, the dance of the reckless to the tempo of an impending disaster, the tone of resistance in a note of rebellion, the voices of visionaries talking over, and under, the din of time's cruel march, correspondences rich and textured in a lost chord yet to be fully decoded. The references are dizzying, disorienting and defiant to the reductions of genre, chaotic and unruly dissonance given rhyme and reason, blues with a beat, art with a purpose, lyrics that bruise, the sound of repercussion struck with a vengeance. This music is so stone cold cool it's hot to the touch;deep downtown and dirty like a lethal seduction, a collective memory that needs no introduction.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More