1
Tara Clerkin Trio - Brigstow
2
Tara Clerkin Trio - World in Delay
3
Tara Clerkin Trio - Marble Walls
4
Tara Clerkin Trio - The Turning Ground
5
Tara Clerkin Trio - Once Around
Repress!
Not far off two years from the day, Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests. It's the conflux of that winding activity that leads indirectly to On The Turning Ground, 26 minutes of probing, thoughtful composition that draws from no one specific source.
Their inspirations might be centreless, but the trio still possess a very obvious anchor in the form of their hometown. Bristol stands as a city of multitudes, heterogenous and vibrant in such a way as to allow it to renew and remake time and again. Tara Clerkin Trio drink from that same well, duly reflecting a rich musical heritage built on fwd-facing electronic subcultures and experimental urges. As such, On The Turning Ground finds them subject to their own subtle internal evolution, the pervasive sense that you've caught them mid-bloom, on their way to becoming but never anything but themselves.
The two instrumental pieces that bookend the EP stand as a perfect case in point, displaying an increasing mastery of compositional space. Pensive and restrained, 'Brigstow' and 'Once Around' both emanate an interstitial quality that's not so much after- as in-between-hours, miniature dub-folk symphonies held together by the kind of tacit understanding that remains the preserve of only the closest of family units. If those two tracks are shaped by a sense of shifting temporality, then the three vocal-led pieces that comprise the record's core feel like a gentle ossifying of aesthetic into something approaching their own unique form of avant-pop. 'Pop' is, of course, a broadly subjective concept, but there's no avoiding the overt sparkling melodicism of songs like 'Marble Walls' and 'The Turning Ground', undeniable re-directions of that late 90s impulse to bend pop sensibilities into off-centre terrain, to render the familiar new again. This is what Tara Clerkin Trio do, gently pulling the ground from under your feet, turning you to face something you'd not quite seen before. To view the world as they do: sideways, sometimes, all of the time. More
Not far off two years from the day, Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests. It's the conflux of that winding activity that leads indirectly to On The Turning Ground, 26 minutes of probing, thoughtful composition that draws from no one specific source.
Their inspirations might be centreless, but the trio still possess a very obvious anchor in the form of their hometown. Bristol stands as a city of multitudes, heterogenous and vibrant in such a way as to allow it to renew and remake time and again. Tara Clerkin Trio drink from that same well, duly reflecting a rich musical heritage built on fwd-facing electronic subcultures and experimental urges. As such, On The Turning Ground finds them subject to their own subtle internal evolution, the pervasive sense that you've caught them mid-bloom, on their way to becoming but never anything but themselves.
The two instrumental pieces that bookend the EP stand as a perfect case in point, displaying an increasing mastery of compositional space. Pensive and restrained, 'Brigstow' and 'Once Around' both emanate an interstitial quality that's not so much after- as in-between-hours, miniature dub-folk symphonies held together by the kind of tacit understanding that remains the preserve of only the closest of family units. If those two tracks are shaped by a sense of shifting temporality, then the three vocal-led pieces that comprise the record's core feel like a gentle ossifying of aesthetic into something approaching their own unique form of avant-pop. 'Pop' is, of course, a broadly subjective concept, but there's no avoiding the overt sparkling melodicism of songs like 'Marble Walls' and 'The Turning Ground', undeniable re-directions of that late 90s impulse to bend pop sensibilities into off-centre terrain, to render the familiar new again. This is what Tara Clerkin Trio do, gently pulling the ground from under your feet, turning you to face something you'd not quite seen before. To view the world as they do: sideways, sometimes, all of the time. More
More records from Tara Clerkin Trio
1
Tara Clerkin Trio - Done Before
2
Tara Clerkin Trio - Night Steps
3
Tara Clerkin Trio - Memory
4
Tara Clerkin Trio - In Spring
Repress!
In spring,
Again.
But it's true this time.
In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.
If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.
Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.
"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel More
In spring,
Again.
But it's true this time.
In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.
If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.
Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.
"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel More
More records from World Of Echo
1
UEVPD - 1
2
UEVPD - 2
3
UEVPD - 3
4
UEVPD - 4
5
UEVPD - 5
6
UEVPD - 6
7
UEVPD - 7
8
UEVPD - 8
UEVPD - Usage/Efficiency/Variance/Platform/Domain - is the solo project of Dominic Goodman, a former member of Mosquitoes and currently one half of Komare.
The self-titled UEVPD debut LP, released on 22nd November via World of Echo, consists of eight sequentially numbered electro-acoustic tracks made over approximately five years, living recordings that have morphed in shape over time, each systematically stripped back to their elemental form before being deemed complete. From the outset, Goodman purposefully deployed a relatively limited array of equipment and adopted a determinedly minimalist approach to composition, a practice in restraint that privileges detail and nuance. Field recordings, made using a combination of dynamic, condenser, contact and electret microphones, geophones and hydrophones, were allied to a basic modular/analogue synth setup, allowing for little in the way of excess or indulgence.
The results are markedly defiant, displaying an expert exercise in control and restraint that lets in little light but plays a great service to space and time. This is patient, claustrophobic sound design that bears out the value in attentive listening, a meditation on the acceptance of passing time, change, growth, death and regeneration. As such, listeners might connect associative lines with the likes of Pan Sonic and Mika Vianio’s solo work, Emptyset and Civilistjavel (who’s Tomas Bodén shows up on mastering duties here), though this remains distinctively Goodman’s vision, a continuation of his interests shown in Mosquitoes and Komare that further pushes out into the murky unknown.
UEVPD is released digitally and on vinyl in an edition of 250, each in hand printed, die cut sleeves. More
The self-titled UEVPD debut LP, released on 22nd November via World of Echo, consists of eight sequentially numbered electro-acoustic tracks made over approximately five years, living recordings that have morphed in shape over time, each systematically stripped back to their elemental form before being deemed complete. From the outset, Goodman purposefully deployed a relatively limited array of equipment and adopted a determinedly minimalist approach to composition, a practice in restraint that privileges detail and nuance. Field recordings, made using a combination of dynamic, condenser, contact and electret microphones, geophones and hydrophones, were allied to a basic modular/analogue synth setup, allowing for little in the way of excess or indulgence.
The results are markedly defiant, displaying an expert exercise in control and restraint that lets in little light but plays a great service to space and time. This is patient, claustrophobic sound design that bears out the value in attentive listening, a meditation on the acceptance of passing time, change, growth, death and regeneration. As such, listeners might connect associative lines with the likes of Pan Sonic and Mika Vianio’s solo work, Emptyset and Civilistjavel (who’s Tomas Bodén shows up on mastering duties here), though this remains distinctively Goodman’s vision, a continuation of his interests shown in Mosquitoes and Komare that further pushes out into the murky unknown.
UEVPD is released digitally and on vinyl in an edition of 250, each in hand printed, die cut sleeves. More
1
Guests - Talking About Talking
2
Guests - A Veneer, A promise, Whatever
3
Guests - (My Cooperation)
4
Guests - Arrangements, As In Makin Them (VIDEO)
5
Guests - (Something Romantic)
6
Guests - (Anemones)
7
Guests - Terrazzo
8
Guests - Melodrama
9
Guests - (Glossy!)
10
Guests - Chalky Outline
11
Guests - (Ha Ha Ha)
Guests are Jessica Higgins and Matthew Walkerdine of Glasgow, UK, both formerly of the bands Vital Idles and Mordwaffe. They have been closely tied with DIY music, art and publishing for over a decade. Using (amateur) electronics, singing, speaking and field recording they make songs which blend the rhythms of popular music and contemporary approaches to collage, sampling, improvisation and repetition. As inspired by film and art as they are the legacies of twee underground and avant garde experimentalism, their loose, domestically twinged compositions explore feelings, atmospheres and moments which are hard to articulate and the quite literal notion of being a “guest”.
“I wish I was special” is their debut record, and with it a chance taken to explore terrain not previously covered by their other groups. The ideology of DIY practice appears integral to these eleven compositions, side-stepping virtuosity in favour of instinct and impression, unafraid to press unknown buttons and walk head first into mistake, finding inspiration where convention might not otherwise allow one to tread. The results are confoundingly fresh, sharp-of-mind, and unusually intimate. There’s an obvious intelligence at play here, and no little humour of course, but crucially there’s also a sense of the personal, a first-thought/best-thought (auto)didacticism that celebrates shared understanding and implicit trust. What, ultimately, we might view as the fearlessness in radically being yourself around another. It’s an approach that draws some comparison with the private musings of Flaming Tunes, Idea Fire Company’s domestic electronics, or perhaps even Annea Lockwood’s framing of emotional connection within avant garde structures. More so, Guests represent a compelling continuation of DIY post-punk experimentation that values intuition over prowess, and with it guides the listener into unexpected spaces that somehow comfort as much as they challenge. More
“I wish I was special” is their debut record, and with it a chance taken to explore terrain not previously covered by their other groups. The ideology of DIY practice appears integral to these eleven compositions, side-stepping virtuosity in favour of instinct and impression, unafraid to press unknown buttons and walk head first into mistake, finding inspiration where convention might not otherwise allow one to tread. The results are confoundingly fresh, sharp-of-mind, and unusually intimate. There’s an obvious intelligence at play here, and no little humour of course, but crucially there’s also a sense of the personal, a first-thought/best-thought (auto)didacticism that celebrates shared understanding and implicit trust. What, ultimately, we might view as the fearlessness in radically being yourself around another. It’s an approach that draws some comparison with the private musings of Flaming Tunes, Idea Fire Company’s domestic electronics, or perhaps even Annea Lockwood’s framing of emotional connection within avant garde structures. More so, Guests represent a compelling continuation of DIY post-punk experimentation that values intuition over prowess, and with it guides the listener into unexpected spaces that somehow comfort as much as they challenge. More
1
Movietone - Chance is Her Opera
2
Movietone - Heatway Pavement
3
Movietone - Green Ray
4
Movietone - Orange Zero
5
Movietone - Late July
6
Movietone - Darkness-Blue Glow
7
Movietone - Mono Valley
8
Movietone - Coastal Lagoon
9
Movietone - Alkaline Eye
10
Movietone - 3AM Walking Smoking Talking
11
Movietone - Three Fires
12
Movietone - Disc 2
13
Movietone - She Smiled Mandarine Like
14
Movietone - Under The 3000 Foot Red Ceiling
15
Movietone - Orange Zero (Single)
16
Movietone - Chance Is Her Opera (Demo)
17
Movietone - Late July (Demo)
18
Movietone - Alkaline Eye (Demo)
19
Movietone - She Smiled Mandarine Like (Demo)
Restock!
World Of Echo are proud to announce the long-awaited reissue, on 17th February, of the self-titled debut album by Bristol’s Movietone. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time Movietone has been reissued on vinyl. An expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993. Taken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups.
Movietone was the cumulation of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting, and finding ways to ‘make do’, a DIY sensibility that would inform Movietone through their decade-long lifespan. From formative rehearsals in a shed in the garden of Brook’s family home, to recording early material to four-track in Redland Library, and on into the Whitehouse and Mr Grin’s studio sessions for their debut album, Movietone’s music fell together in a creatively unpredictable, yet conceptually rigorous manner.
By the time they released Movietone, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were Movietone’s closest conspirators), through Elliott’s jungle/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack. A closely knit community, Movietone are the centre of this nestling architecture of groups.
The vision in the music, mostly, belongs to Wright, but Movietone ran in democratic creative consort. Listening back to Movietone, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies. Full of half-captured memories and entangled abstractions, there’s an elliptical, ruminative quality to much of the writing here that shows the deep influence of the Beat Generation writers, along with a twilight environment captured in the songs that’s pure third-album Velvets, Galaxie 500, early Tindersticks, Codeine. Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” – point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.
Movietone would go on to make three fantastic albums for Domino – Night & Day (1997), The Blossom Filled Streets (2000) and The Sand & The Stars (2003) – and their Peel Sessions were released early in 2022 by Textile. Still held in high regard by artists like Steven R. Smith, and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to Movietone anew – still inspired, still seductive, still magic, still mysterious. More
World Of Echo are proud to announce the long-awaited reissue, on 17th February, of the self-titled debut album by Bristol’s Movietone. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time Movietone has been reissued on vinyl. An expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993. Taken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups.
Movietone was the cumulation of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting, and finding ways to ‘make do’, a DIY sensibility that would inform Movietone through their decade-long lifespan. From formative rehearsals in a shed in the garden of Brook’s family home, to recording early material to four-track in Redland Library, and on into the Whitehouse and Mr Grin’s studio sessions for their debut album, Movietone’s music fell together in a creatively unpredictable, yet conceptually rigorous manner.
By the time they released Movietone, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were Movietone’s closest conspirators), through Elliott’s jungle/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack. A closely knit community, Movietone are the centre of this nestling architecture of groups.
The vision in the music, mostly, belongs to Wright, but Movietone ran in democratic creative consort. Listening back to Movietone, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies. Full of half-captured memories and entangled abstractions, there’s an elliptical, ruminative quality to much of the writing here that shows the deep influence of the Beat Generation writers, along with a twilight environment captured in the songs that’s pure third-album Velvets, Galaxie 500, early Tindersticks, Codeine. Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” – point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.
Movietone would go on to make three fantastic albums for Domino – Night & Day (1997), The Blossom Filled Streets (2000) and The Sand & The Stars (2003) – and their Peel Sessions were released early in 2022 by Textile. Still held in high regard by artists like Steven R. Smith, and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to Movietone anew – still inspired, still seductive, still magic, still mysterious. More
1
Tara Clerkin Trio - Done Before
2
Tara Clerkin Trio - Night Steps
3
Tara Clerkin Trio - Memory
4
Tara Clerkin Trio - In Spring
Repress!
In spring,
Again.
But it's true this time.
In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.
If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.
Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.
"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel More
In spring,
Again.
But it's true this time.
In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.
If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.
Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.
"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel More
1
Hydroplane - We Crossed The Atlantic
2
Hydroplane - The Love You Bring
3
Hydroplane - When I Was Howard Hughes
4
Hydroplane - Failed Adventure
5
Hydroplane - Stars (Twilight Mix)
6
Hydroplane - Grand Central
7
Hydroplane - International Exiles
8
Hydroplane - Merry-Go-Round
9
Hydroplane - Radios Appear
10
Hydroplane - City Terminus
11
Hydroplane - Min Min Light
12
Hydroplane - Oregon Snow
13
Hydroplane - Cherry Lake
14
Hydroplane - Blackout
15
Hydroplane - Please Don't Say Goodbye
16
Hydroplane - Museum Station
17
Hydroplane - Blue Train
18
Hydroplane - You Were There
19
Hydroplane - Something Better Beginning
Selected Songs 1997-2003 compiles some of the finest moments in the recording history of Hydroplane, the Melbourne-based indie-pop three-piece that operated alongside The Cat’s Miaow through the second half of the nineties. It’s the third release in what feels, now, like a loosely planned series by World Of Echo, documenting the music made by this group of friends in Melbourne sharehouses (The Cat’s Miaow’s Songs ’94-’98, 2022), or in the case of The Shapiros (Gone By Fall, 2023), while traversing the International Pop Underground.
Hydroplane would be familiar to anyone already following these breadcrumb trails – Andrew Withycombe, Bart Cummings and Kerrie Bolton were the group’s core, all members of The Cat’s Miaow. With Cat’s Miaow drummer Cameron Smith itinerant, having moved to London, the trio used this opportunity to expand their music. It’s a subtle, but important shift. If The Cat’s Miaow was about the perfect, minimalist, two-minute pop song, Hydroplane’s music was far more open-ended, embracing the loops and drones, sampled house-y shuffle beats, the burbling of a Roland Jupiter-4 synth, all of which the trio joined, effortlessly, to their endless capacity for moving, elegant melodicism.
They may have only planned to release one seven-inch single, but the sound Hydroplane created was so bewitching, so compelling, that the project’s lifespan ran for around half a decade, and they ended up releasing three albums, including a self-titled debut recently reissued by Efficient Space, and seven singles. There are all kinds of compelling things happening in the music compiled here – the hazy repetition of the gentler side of Krautrock is in here, somewhere, which also suggests Stereolab at their most intimate and disarmed; the gently drifting guitars, gauzy and oneiric, set the songs adrift and floating, each one lost in its own imagined, distracted world. Songs like “The Love You Bring” set indistinct tonal floats across dance rhythms, in a way not quite heard since My Bloody Valentine’s “Instrumental” – but with the added gift of Bolton’s gorgeous voice.
This loose coalition with dance music, and the quiet experimentalism at the heart of Hydroplane, also gestures towards peers like Hood, Acetate Zero and Other People’s Children, and releases on renegade labels like Wurlitzer Jukebox and Enraptured. Like those groups and labels, The Cat’s Miaow were reconciling independent pop music’s past – sweet melody and melancholy, chiming and droning guitars – with the futures promised by DIY electronics and nascent digitalia, the interface of indie and IDM that led to some of the underground’s most blissful, texturally swoonsome music. All that is here, but also, the poise of the melodies is pure Cat’s Miaow, though, with Bolton’s voice sailing, pacifically, over some of the most pared-down, gorgeous music made during their decade.
It was a time, too, when such music could make waves – “We Crossed The Atlantic”, one of their early singles, was picked up by John Peel, who played it repeatedly on his legendary radio show, the song reaching #13 on his 1997 Festive 50. That the song itself was a cover of a tune by 1960s Australian beatnik-pop-poet Pip Proud felt even more perfect – a group of outsiders paying tribute to another outsider, played on the radio one of the few broadcasters brave and human enough to take a chance on this music. But it was a time where everything was up for grabs, and genres were flowing into each other: folk songs went drone; indie re-discovered noise; ambient pop floated, again, out onto the dancefloor. And while they may have been sequestered away in Melbourne, Australia, Hydroplane felt core to that scene, a quietly driving force.
Compiling material from across their brief but mercurial career, this double album perfectly captures the magic and mystery of Hydroplane’s dreamlike, perfect pop songs. More
Hydroplane would be familiar to anyone already following these breadcrumb trails – Andrew Withycombe, Bart Cummings and Kerrie Bolton were the group’s core, all members of The Cat’s Miaow. With Cat’s Miaow drummer Cameron Smith itinerant, having moved to London, the trio used this opportunity to expand their music. It’s a subtle, but important shift. If The Cat’s Miaow was about the perfect, minimalist, two-minute pop song, Hydroplane’s music was far more open-ended, embracing the loops and drones, sampled house-y shuffle beats, the burbling of a Roland Jupiter-4 synth, all of which the trio joined, effortlessly, to their endless capacity for moving, elegant melodicism.
They may have only planned to release one seven-inch single, but the sound Hydroplane created was so bewitching, so compelling, that the project’s lifespan ran for around half a decade, and they ended up releasing three albums, including a self-titled debut recently reissued by Efficient Space, and seven singles. There are all kinds of compelling things happening in the music compiled here – the hazy repetition of the gentler side of Krautrock is in here, somewhere, which also suggests Stereolab at their most intimate and disarmed; the gently drifting guitars, gauzy and oneiric, set the songs adrift and floating, each one lost in its own imagined, distracted world. Songs like “The Love You Bring” set indistinct tonal floats across dance rhythms, in a way not quite heard since My Bloody Valentine’s “Instrumental” – but with the added gift of Bolton’s gorgeous voice.
This loose coalition with dance music, and the quiet experimentalism at the heart of Hydroplane, also gestures towards peers like Hood, Acetate Zero and Other People’s Children, and releases on renegade labels like Wurlitzer Jukebox and Enraptured. Like those groups and labels, The Cat’s Miaow were reconciling independent pop music’s past – sweet melody and melancholy, chiming and droning guitars – with the futures promised by DIY electronics and nascent digitalia, the interface of indie and IDM that led to some of the underground’s most blissful, texturally swoonsome music. All that is here, but also, the poise of the melodies is pure Cat’s Miaow, though, with Bolton’s voice sailing, pacifically, over some of the most pared-down, gorgeous music made during their decade.
It was a time, too, when such music could make waves – “We Crossed The Atlantic”, one of their early singles, was picked up by John Peel, who played it repeatedly on his legendary radio show, the song reaching #13 on his 1997 Festive 50. That the song itself was a cover of a tune by 1960s Australian beatnik-pop-poet Pip Proud felt even more perfect – a group of outsiders paying tribute to another outsider, played on the radio one of the few broadcasters brave and human enough to take a chance on this music. But it was a time where everything was up for grabs, and genres were flowing into each other: folk songs went drone; indie re-discovered noise; ambient pop floated, again, out onto the dancefloor. And while they may have been sequestered away in Melbourne, Australia, Hydroplane felt core to that scene, a quietly driving force.
Compiling material from across their brief but mercurial career, this double album perfectly captures the magic and mystery of Hydroplane’s dreamlike, perfect pop songs. More
1
Läuten Der Seele - Molch, Pfütze, Schilf & Stein
2
Läuten Der Seele - Knochen, Mond, Buchstabe & Tropfen
Somewhere in the Lower-Franconian vineyards lies a hidden and mostly unknown canyon, a place that often returns to the thoughts and dreams of Läuten der Seele’s Christian Schoppik. Though a much rarer occurrence now as a consequence of environmental change, chance encounters upon the area in the past would sometimes reveal small ponds amongst the reeds, teeming with life and populated by colonies of newts and the now endangered yellow bellied toad. The transience of the water and the wildlife it hosts, dependent on season or climate, lends the area an almost fantastical, dream-like quality. Was it ever even there at all? A secret place that may or may not be present holds vast appeal to some enquiring minds… Ertrunken Im Seichtesten Gewässer, the third Läuten der Seele album in two years, is inspired directly by these experiences. Translating as ‘drowned in the shallowest stretch of water’, a title as pregnant with dread as it is wonder, the themes present speak both to personal memories and a wider understanding of place and time, and how we might interpret our own position within an ever-changing, sometimes disappearing world.
The record is presented as two long-form pieces divided into four separate movements, each titled so as to reflect this natural environment and its intersection with imagination, relying on processes of collage that draw from myriad indeterminable samples, field recordings and various recorded instruments. Those familiar with Schoppik’s work, both as Läuten der Seele and with Brannten Schnüre, will find present many of his signature tropes - the way deeply layered collages render abstracted visions of the past alive in the present - though what is always significant about his approach is not so much aesthetic as the wider concepts it attempts to express and emote. Indeed, emotional response is key to the Läuten der Seele sound, how overlapping notions of nostalgia, memory and identity calibrate experience and understanding of who we are and the world around us, whether it’s a world that’s gone or another imagined into being. If you observe the artwork closely enough, you may find a clue as to the canyon’s location, though such specifics are besides the point. The music itself infers a wider sense of the impermanence that characterises hidden worlds, wherever they might be or whoever they might belong to. More
The record is presented as two long-form pieces divided into four separate movements, each titled so as to reflect this natural environment and its intersection with imagination, relying on processes of collage that draw from myriad indeterminable samples, field recordings and various recorded instruments. Those familiar with Schoppik’s work, both as Läuten der Seele and with Brannten Schnüre, will find present many of his signature tropes - the way deeply layered collages render abstracted visions of the past alive in the present - though what is always significant about his approach is not so much aesthetic as the wider concepts it attempts to express and emote. Indeed, emotional response is key to the Läuten der Seele sound, how overlapping notions of nostalgia, memory and identity calibrate experience and understanding of who we are and the world around us, whether it’s a world that’s gone or another imagined into being. If you observe the artwork closely enough, you may find a clue as to the canyon’s location, though such specifics are besides the point. The music itself infers a wider sense of the impermanence that characterises hidden worlds, wherever they might be or whoever they might belong to. More
1
Pat Benjamin - January 11
2
Bons - Droste
3
Nein Rodere - Projection Check
4
Goldblum - Deep River
5
TRjj - Collectivizor
6
Blackwater - Overload
7
Komare - Blanco y Verde
8
CIA Debutante - Slow Navigator
9
Valentina Magaletti - Low Delights
10
Roxane Metayer - Arc Volute
11
Stefan Christensen - No Alternatives
12
Exek - Who’ll
13
Still House Plants - Thinking About Appearances
14
Moin - Toots
15
People Skills - Flag For Gravity
16
Able Noise - To Appease
17
The Dengie Hundred - Albatross III
18
Tara Clerkin & Sunny Joe Paradisos - Castelfields
19
Mark Gomes - Orbiting Ganymede
20
Pat Benjamin - August 2
“Let me fly you home. We can talk on the way”
Thorn Valley is a 20 song assemblage of various transmissions from the ever diffuse and widening DIY underground, released to mark the four year anniversary of World of Echo. The river ever bends, the valley ever deepens.
Available as a gatefold double LP pressed in an edition of 500. Artwork by Matthew Walkerdine More
Thorn Valley is a 20 song assemblage of various transmissions from the ever diffuse and widening DIY underground, released to mark the four year anniversary of World of Echo. The river ever bends, the valley ever deepens.
Available as a gatefold double LP pressed in an edition of 500. Artwork by Matthew Walkerdine More
1
Mutabor! - No Title
2
Mutabor! - No Title
East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!.
This is essential stuff, reminding us here at Rubadub of New York No-Wave and early A Certain Ratio and Section 25 More
This is essential stuff, reminding us here at Rubadub of New York No-Wave and early A Certain Ratio and Section 25 More
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Tara Clerkin Trio - Done Before
2
Tara Clerkin Trio - Night Steps
3
Tara Clerkin Trio - Memory
4
Tara Clerkin Trio - In Spring
Repress!
In spring,
Again.
But it's true this time.
In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.
If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.
Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.
"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel More
In spring,
Again.
But it's true this time.
In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.
If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.
Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.
"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel More
1
Flammer Dance Band - Båndet Går
2
Flammer Dance Band - Trenger Ikke Dra
3
Flammer Dance Band - Nå Nå
4
Flammer Dance Band - Ekko Av Degb Selv
5
Flammer Dance Band - Glad
6
Flammer Dance Band - Gynger
Hot off a crazy year of constant touring from January to December, which included a two-week stint as the backing band for Ghanaian Legend Funky Rob, Flammer Dance Band returned to the studio, buzzing with spontaneous energy and inspiration.
Seven musicians squeezed into a hot and sweaty soul shack, in pursuit of the funk.
Five days later, they emerged with 'Gynger', an album that captures the raw, dynamic spirit of their well-oiled, psychedelic funk machine. More
Seven musicians squeezed into a hot and sweaty soul shack, in pursuit of the funk.
Five days later, they emerged with 'Gynger', an album that captures the raw, dynamic spirit of their well-oiled, psychedelic funk machine. More
1
Flammer Dance Band - Mer
2
Flammer Dance Band - Holder Rytme
Flammer Dance Band back with two new hip-shaking garage funk tunes!
2023 Repress edition in different sleeve artwork colourway
Another essential from Lyskestrekk Records. More
2023 Repress edition in different sleeve artwork colourway
Another essential from Lyskestrekk Records. More
Label:Be With Records
Cat-No:bewith166lp
Release-Date:22.03.2024
Genre:HipHop/Rap/Urban
Configuration:2LP Excl
Label:Be With Records
Cat-No:bewith166lp
Release-Date:22.03.2024
Genre:HipHop/Rap/Urban
Configuration:2LP Excl
1
Bahamadia - Intro (0:50)
2
Bahamadia - WordPlay (3:17)
3
Bahamadia - Spontaneity (4:08)
4
Bahamadia - Rugged Ruff (3:08)
5
Bahamadia - Interlude (0:29)
6
Bahamadia - I Confess (4:06)
7
Bahamadia - UKNOWHOWWEDU (3:35)
8
Bahamadia - Interlude (1:09)
9
Bahamadia - Total Wreck (3:26)
10
Bahamadia - Innovation (3:23)
11
Bahamadia - Da Jawn (5:19)
12
Bahamadia - Interlude (1:05)
13
Bahamadia - True Honey Buns (Dat Freak Sh t) (3:41)
14
Bahamadia - 3 Tha Hard Way (4:12)
15
Bahamadia - Biggest Part Of Me (4:51)
16
Bahamadia - Path To Rhythm (3:24)
Territories: Worldwide no restrictions
Format Notes:
2024 first time double vinyl reissue with exclusive bonus track, 140g double vinyl, remastered audio with restored artwork
Track List:
A1 Intro 0:50
A2 WordPlay 3:17
A3 Spontaneity 4:08
A4 Rugged Ruff 3:08
A5 Interlude 0:29
B1 I Confess 4:06
B2 UKNOWHOWWEDU 3:35
B3 Interlude 1:09
B4 Total Wreck 3:26
B5 Innovation 3:23
C1 Da Jawn 5:19
C2 Interlude 1:05
C3 True Honey Buns (Dat Freak Sh*t) 3:41
D1 3 Tha Hard Way 4:12
D2 Biggest Part Of Me 4:51
D3 Path To Rhythm 3:24
Release Notes:
Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.
The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."
With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.
With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.
Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.
Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.
More
Format Notes:
2024 first time double vinyl reissue with exclusive bonus track, 140g double vinyl, remastered audio with restored artwork
Track List:
A1 Intro 0:50
A2 WordPlay 3:17
A3 Spontaneity 4:08
A4 Rugged Ruff 3:08
A5 Interlude 0:29
B1 I Confess 4:06
B2 UKNOWHOWWEDU 3:35
B3 Interlude 1:09
B4 Total Wreck 3:26
B5 Innovation 3:23
C1 Da Jawn 5:19
C2 Interlude 1:05
C3 True Honey Buns (Dat Freak Sh*t) 3:41
D1 3 Tha Hard Way 4:12
D2 Biggest Part Of Me 4:51
D3 Path To Rhythm 3:24
Release Notes:
Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.
The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."
With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.
With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.
Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.
Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.
More
Label:APESHIT, LLC. / EMPIRE
Cat-No:ERE1010
Release-Date:09.08.2024
Genre:HipHop/Rap/Urban
Configuration:7" Excl
Label:APESHIT, LLC. / EMPIRE
Cat-No:ERE1010
Release-Date:09.08.2024
Genre:HipHop/Rap/Urban
Configuration:7" Excl
Listen: https://listen.empi.re/274157
About:
Free Nationals are back with "Gangsta," their first single since 2020. The GRAMMY Nominated group enlists longtime collaborator Anderson .Paak and A$AP Rocky for the smooth yet ominous track, infused with the funky retro-soul sound that brought the four-piece to prominence. With an accompanying video by renowned director Francois Rousselet, who has worked with The Rolling Stones, Jack White, and Pharrell in the past, Free Nationals give fans a taste of what's to come and reintroduce themselves as the leaders of the funk.
Key Marketing/Selling:
Free Nationals are a GRAMMY Nominated group
First single released since 2020
Features on the track include longtime collaborator Anderson .Paak & A$AP Rocky
45 rpm 7" includes instrumental version of "Gangsta" & includes free 45 adapter
"Gangsta" music video had over 2M views in the first week of release
Free Nationals are most notably the live band that performs with Anderson .Paak, & will be performing with him at New Orleans Jazz Fest 2024
The single release was covered by all major outlets - NME, UPROXX, Hypebeast, COS, FADER, RapRadar
Free Nationals have over 6M monthly listeners on Spotify alone
Their debut album, Free Nationals, is an evergreen physical title at retail
Tracklist:
A1/1. Gangsta (feat. A$AP Rocky & Anderson .Paak)
B1/2. Gangsta (Instrumental)
Socials:
Twitter: 16.5k followers
IG: 171k followers
FB: 35k followers
YT: 103k subs / 57.7M views
More
About:
Free Nationals are back with "Gangsta," their first single since 2020. The GRAMMY Nominated group enlists longtime collaborator Anderson .Paak and A$AP Rocky for the smooth yet ominous track, infused with the funky retro-soul sound that brought the four-piece to prominence. With an accompanying video by renowned director Francois Rousselet, who has worked with The Rolling Stones, Jack White, and Pharrell in the past, Free Nationals give fans a taste of what's to come and reintroduce themselves as the leaders of the funk.
Key Marketing/Selling:
Free Nationals are a GRAMMY Nominated group
First single released since 2020
Features on the track include longtime collaborator Anderson .Paak & A$AP Rocky
45 rpm 7" includes instrumental version of "Gangsta" & includes free 45 adapter
"Gangsta" music video had over 2M views in the first week of release
Free Nationals are most notably the live band that performs with Anderson .Paak, & will be performing with him at New Orleans Jazz Fest 2024
The single release was covered by all major outlets - NME, UPROXX, Hypebeast, COS, FADER, RapRadar
Free Nationals have over 6M monthly listeners on Spotify alone
Their debut album, Free Nationals, is an evergreen physical title at retail
Tracklist:
A1/1. Gangsta (feat. A$AP Rocky & Anderson .Paak)
B1/2. Gangsta (Instrumental)
Socials:
Twitter: 16.5k followers
IG: 171k followers
FB: 35k followers
YT: 103k subs / 57.7M views
More
1
Unknown Artist - Yagmur Yagdi Kac
2
Unknown Artist - Adana Ücayak
3
Unknown Artist - Sis Kebabi
4
Unknown Artist - Hint Geceleri
5
Unknown Artist - Cilli
6
Unknown Artist - Kalaycilar
7
Unknown Artist - Fesuphanallah
8
Unknown Artist - Zühtü
9
Unknown Artist - Harmandali
Vinyl Only Release lim. to 500 copies worldwide!
There are mysterious records. Records hiding and showing something at the same time. This is one of them. It is made from two records that were most probably released in the mid-1970s, most probably primarily by Turkish Roma.
It brings together what Anadolu pop music lovers always dream of: Anatolian geleneksel (traditional folk tunes), disco and funk, jazz and hard rock, psychedelic sounds, hard-hitting drums, Arabesk percussion, and hip-hop friendly breaks. Put together in a careful, smooth production with a warm, relaxed and dance-friendly vibe.
Here you get it: Roma-nized instrumental Turkish pop music in all its facets of the 1970s.
Track Titles:
A1 Yagmur Yagdi Kac
A2 Adana Ücayak
B1 Sis Kebabi
B2 Hint Geceleri
C1 Cilli
C2 Kalaycilar
D1 Fesuphanallah
D2 Zühtü
D3 Harmandali
More
There are mysterious records. Records hiding and showing something at the same time. This is one of them. It is made from two records that were most probably released in the mid-1970s, most probably primarily by Turkish Roma.
It brings together what Anadolu pop music lovers always dream of: Anatolian geleneksel (traditional folk tunes), disco and funk, jazz and hard rock, psychedelic sounds, hard-hitting drums, Arabesk percussion, and hip-hop friendly breaks. Put together in a careful, smooth production with a warm, relaxed and dance-friendly vibe.
Here you get it: Roma-nized instrumental Turkish pop music in all its facets of the 1970s.
Track Titles:
A1 Yagmur Yagdi Kac
A2 Adana Ücayak
B1 Sis Kebabi
B2 Hint Geceleri
C1 Cilli
C2 Kalaycilar
D1 Fesuphanallah
D2 Zühtü
D3 Harmandali
More
Coloured Vinyl LP (flame splattered colour vinyl) Brazilian most successful band's critically acclaimed 2016 album on limited edition flamed vinyl!
TRACKLIST
A1. Batucada Em Marte
A2. Papa Samba
A3. Neptunians (short version)
A4. Rio Doce
A5. Corumbá
B1. Fênix
B2. Villa Mariana (De Tarde)
B3. Orange Clouds
B4. O Matagal More
TRACKLIST
A1. Batucada Em Marte
A2. Papa Samba
A3. Neptunians (short version)
A4. Rio Doce
A5. Corumbá
B1. Fênix
B2. Villa Mariana (De Tarde)
B3. Orange Clouds
B4. O Matagal More
1
devi g. - EDEN 123 (SUNDAY CLUB)
2
devi g. - CLUBBERS PARADISE (BE A CYBERSPACE CADET MIX)
3
devi g. - HOLISTIC HEAVEN (INTERNATIONAL)
4
devi g. - FREQUENCY OV TRUTH
Tracklist 12":
A1 EDEN 123 (SUNDAY CLUB)
A2 CLUBBERS PARADISE (BE A CYBERSPACE CADET MIX)
B1 HOLISTIC HEAVEN (INTERNATIONAL)
B2 FREQUENCY OV TRUTH
In the annals of German techno history of the early 90s, Mannheim's Milk Club was always something like the dirty little brother between Berlin's Tresor and Frankfurt's Omen - not as cocky as the two big siblings, but secretly all the more clever. Less pretentious than the Äppelwoi metropolis, less dirty than the capital and, despite squaring the circle, less straightforward than both together. Instead, they delight with breakdancers of almost Wigan Casino-like elegance. Very British, even in the musical mix of house, techno and breakbeats, breakbeats, breakbeats. A club like a kind of mother raising the nightclubbers with her milk.
Devi g. pay tribute to this club with their MILK EP. on Pudel Produkte.
Devi g. are Dirk Mantei aka Dman (DJ and former manager of the Milk Club) and Oliver Bradford (one half of Thee Church Ov Acid House and resident DJ at the equally legendary Brückenkopf parties in Mainz). Pudel Produkte because, well, Golden Pudel Club - Legend binding.
A four-part promenade mix is on offer that has it all. It contains house, techno and, yes, breakbeats, breakbeats, breakbeats.
There are:
EDEN 123 (SUNDAY CLUB):
a light-footed breakbeat ride across psylocibin-laden summer meadows, driven by pyromaniac shamanistic power.
CLUBBERS PARADISE (BE A CYBERSPACE CADET MIX):
which wraps the rave classic We are i.e. around a sheet metal framework of breakbeats, drenching it in acid-soaked bass waves.
HOLISTIC HEAVEN (INTERNATIONAL):
where vacuum cleaner-carrying milk droids perform unheard-of rituals in the low-frequency forest before one of the finest 303 melodies dissolves everything into bliss.
FREQUENCY OV TRUTH:
which invites you to techno dance with a blunt droning bass drum and then stimulates your ov power with a back and forth twirling acid sequence.
Four tracks that transfer the milk legend into the 21st century with 90s-inspired rave finesse.
Dross for the posse. Or as the connoisseur says: effervescent tablet in the brain, highly recommended!
And did I mention the breakbeats?
Tim Lorenz aka Superdefekt
More
A1 EDEN 123 (SUNDAY CLUB)
A2 CLUBBERS PARADISE (BE A CYBERSPACE CADET MIX)
B1 HOLISTIC HEAVEN (INTERNATIONAL)
B2 FREQUENCY OV TRUTH
In the annals of German techno history of the early 90s, Mannheim's Milk Club was always something like the dirty little brother between Berlin's Tresor and Frankfurt's Omen - not as cocky as the two big siblings, but secretly all the more clever. Less pretentious than the Äppelwoi metropolis, less dirty than the capital and, despite squaring the circle, less straightforward than both together. Instead, they delight with breakdancers of almost Wigan Casino-like elegance. Very British, even in the musical mix of house, techno and breakbeats, breakbeats, breakbeats. A club like a kind of mother raising the nightclubbers with her milk.
Devi g. pay tribute to this club with their MILK EP. on Pudel Produkte.
Devi g. are Dirk Mantei aka Dman (DJ and former manager of the Milk Club) and Oliver Bradford (one half of Thee Church Ov Acid House and resident DJ at the equally legendary Brückenkopf parties in Mainz). Pudel Produkte because, well, Golden Pudel Club - Legend binding.
A four-part promenade mix is on offer that has it all. It contains house, techno and, yes, breakbeats, breakbeats, breakbeats.
There are:
EDEN 123 (SUNDAY CLUB):
a light-footed breakbeat ride across psylocibin-laden summer meadows, driven by pyromaniac shamanistic power.
CLUBBERS PARADISE (BE A CYBERSPACE CADET MIX):
which wraps the rave classic We are i.e. around a sheet metal framework of breakbeats, drenching it in acid-soaked bass waves.
HOLISTIC HEAVEN (INTERNATIONAL):
where vacuum cleaner-carrying milk droids perform unheard-of rituals in the low-frequency forest before one of the finest 303 melodies dissolves everything into bliss.
FREQUENCY OV TRUTH:
which invites you to techno dance with a blunt droning bass drum and then stimulates your ov power with a back and forth twirling acid sequence.
Four tracks that transfer the milk legend into the 21st century with 90s-inspired rave finesse.
Dross for the posse. Or as the connoisseur says: effervescent tablet in the brain, highly recommended!
And did I mention the breakbeats?
Tim Lorenz aka Superdefekt
More
1
Qwalia - Fool Me Once
2
Qwalia - The Grip
3
Qwalia - Sound & Reason
4
Qwalia - Electric Highway
5
Qwalia - Haven't You Heard
6
Qwalia - Vahgerah
7
Qwalia - In Your Own Words
New London based quartet Qwalia, led by drummer Yusuf Ahmed, offer a plethora of influences whilst remaining resolutely itself. Assembled from musicians who play with David Byrne, Joy Crookes, Nubiyan Twist, Frank Ocean, Jordan Rakei, Sampha, Cat Stevens and more; Yusuf is joined by Tal Janes on guitars and vocals, Ben Reed on bass and keyboardist Joseph Costi. Qwalia’s debut album ‘Sound And Reason’ is set for release by Alberts Favourites on 24th March 2023.
The name Qwalia stems from the same sounding word Qualia, a philosophy of mind with the property of being an ineffable experience. Qwalia’s music is an instinctive aural expression of how things seemed in the moment of creation.
In April ‘21, Qwalia spent two days recording completely improvised music at the Fish Factory in North West London. There was no plan or preconceived idea of what the music should sound like or what was going to happen.
“We set up altogether in one room, dimmed the lights, pressed record and just played,” says Yusuf. “We came away with over 13 hours of music, which was consolidated into three albums worth of material. The final record is mainly a result of pulling faders up or down to create space and structure out of what was already there from the live recording. The production process felt akin to a sculptor chipping away excess stone to reveal a statue that was already there, and occasionally putting some makeup on it!”
The band members are Pakistani, Italian, Venezuelan, Jewish and English. A reflection of the fact that cultural categories are infinite; Qwalia’s music unconsciously explores identity, exposing what this can mean. Or perhaps that it doesn’t mean anything at all.
Early support from Mary Anne Hobbs and Gilles Peterson, support to come from Huey Morgan, Cerys Matthews. More
The name Qwalia stems from the same sounding word Qualia, a philosophy of mind with the property of being an ineffable experience. Qwalia’s music is an instinctive aural expression of how things seemed in the moment of creation.
In April ‘21, Qwalia spent two days recording completely improvised music at the Fish Factory in North West London. There was no plan or preconceived idea of what the music should sound like or what was going to happen.
“We set up altogether in one room, dimmed the lights, pressed record and just played,” says Yusuf. “We came away with over 13 hours of music, which was consolidated into three albums worth of material. The final record is mainly a result of pulling faders up or down to create space and structure out of what was already there from the live recording. The production process felt akin to a sculptor chipping away excess stone to reveal a statue that was already there, and occasionally putting some makeup on it!”
The band members are Pakistani, Italian, Venezuelan, Jewish and English. A reflection of the fact that cultural categories are infinite; Qwalia’s music unconsciously explores identity, exposing what this can mean. Or perhaps that it doesn’t mean anything at all.
Early support from Mary Anne Hobbs and Gilles Peterson, support to come from Huey Morgan, Cerys Matthews. More
2xLP, Gatefold Jacket, Black Vinyl
About:
I Care 4 U is the first posthumous compilation album by the "Princess of R&B," Aaliyah. Following her tragic and untimely passing, Blackground Records released a posthumous record including songs from her studio albums and previously unreleased tracks and demos, as well as hit singles and recordings that ultimately did not land on any previous albums. The compilation album was a commercial success and debuted at number three on the Billboard 200 and was certified platinum. It features the previously unreleased "Miss You."
LP Tracklist:
A1. Back & Forth
A2. Are You That Somebody
A3. One In A Million
A4. I Care 4 U
B1. More Than A Woman
B2. Don't Know What to Tell Ya
B3. Try Again
B4. All I Need
C1. Miss You
C2. Don't Worry
C3. Come Over (feat. Tank)
C4. Erica Kane
D1. At Your Best
D2. Got To Give It Up (Remix)
D3. We Need A Resolution (feat. Timbaland)
D4. Rock The Boat
More
About:
I Care 4 U is the first posthumous compilation album by the "Princess of R&B," Aaliyah. Following her tragic and untimely passing, Blackground Records released a posthumous record including songs from her studio albums and previously unreleased tracks and demos, as well as hit singles and recordings that ultimately did not land on any previous albums. The compilation album was a commercial success and debuted at number three on the Billboard 200 and was certified platinum. It features the previously unreleased "Miss You."
LP Tracklist:
A1. Back & Forth
A2. Are You That Somebody
A3. One In A Million
A4. I Care 4 U
B1. More Than A Woman
B2. Don't Know What to Tell Ya
B3. Try Again
B4. All I Need
C1. Miss You
C2. Don't Worry
C3. Come Over (feat. Tank)
C4. Erica Kane
D1. At Your Best
D2. Got To Give It Up (Remix)
D3. We Need A Resolution (feat. Timbaland)
D4. Rock The Boat
More
(Standard Vinyl LP) Full length remixed and re-mastered version of this classic lp featuring top 20 classic jazz carnival!
TRACKLIST
A1. Partido Alto
A2. Avenida Das Mangueiras
A3. Light As A Feather
A4. Fly Over The Horizon (Voo Sobre O Horizonte)
A5. Amazonia
B1. Jazz Carnival
B2. Young Embrace (Um Abraco Da Mocidade)
B3. Dona Olimpia
B4. This Exists (Existe Isto)
INFO
Four decades on and Azymuth has reached legendary status amongst fans worldwide and across the music industry thanks to the trio's pioneering blend of traditional Brazilian jazz and proto funk fusion from the early 70's right through to the present day.
In 1979 the band's first Milestone Records release, 'Light As A Feather' quickly became one of the best-selling LPs of the year. Featuring the worldwide disco/fusion hit single 'Jazz Carnival' and going on to sell more than half a million copies internationally, the album stayed in the UK Top 20 for eight straight weeks.
An incredibly well thought out album both in pace, song selection and musicality, 'Light As A Feather' marked a maturing of the band as they began to rightfully utilise the studio as an instrument itself, embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The end result is an album that endures to this day as a samba/jazz-funk masterpiece.
‘Futuristic, compelling and always swinging, that’d be Azymuth then.’ Jazzwise
‘Their reputation is global and their music speaks volumes’. Mixmag
INFO
Azymuth's career-defining LP Light As A Feather returns. Home to their worldwide disco/fusion hit single ‘Jazz Carnival’, the samba-doido staple 'Partido Alto', and the proto-deep house masterpiece ‘Avenida Das Mangueiras’, this album typifies the trio’s tireless innovation in the fields of jazz, funk, samba and cosmic music perhaps more so than any of their other ground-breaking records from its era.
Their first release on Milestone Records in 1979, it quickly became one of the best-selling LPs of the year, staying in the UK Top 20 for eight straight weeks with more than half a million copies sold. An incredibly well thought out album both in pace, song selection and musicality, ‘Light As A Feather’ marked a maturing of the band as they began to rightfully utilise the studio as an instrument itself, embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The result is an album that endures to this day as a samba/jazz-funk masterpiece.
First reissued in 2012, the Far Out edition of this seminal recording was remixed and re-mastered from the original 16-track tapes, which were given to Joe Davis by Azymuth. This latest version is the first ever issue to be complete with a download card that that gives access to previously unreleased tracks, including the incredible full length version of 'Jazz Carnival', as well as remixes from house stalwarts Theo Parrish, Ashley Beedle, and Mark E. More
TRACKLIST
A1. Partido Alto
A2. Avenida Das Mangueiras
A3. Light As A Feather
A4. Fly Over The Horizon (Voo Sobre O Horizonte)
A5. Amazonia
B1. Jazz Carnival
B2. Young Embrace (Um Abraco Da Mocidade)
B3. Dona Olimpia
B4. This Exists (Existe Isto)
INFO
Four decades on and Azymuth has reached legendary status amongst fans worldwide and across the music industry thanks to the trio's pioneering blend of traditional Brazilian jazz and proto funk fusion from the early 70's right through to the present day.
In 1979 the band's first Milestone Records release, 'Light As A Feather' quickly became one of the best-selling LPs of the year. Featuring the worldwide disco/fusion hit single 'Jazz Carnival' and going on to sell more than half a million copies internationally, the album stayed in the UK Top 20 for eight straight weeks.
An incredibly well thought out album both in pace, song selection and musicality, 'Light As A Feather' marked a maturing of the band as they began to rightfully utilise the studio as an instrument itself, embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The end result is an album that endures to this day as a samba/jazz-funk masterpiece.
‘Futuristic, compelling and always swinging, that’d be Azymuth then.’ Jazzwise
‘Their reputation is global and their music speaks volumes’. Mixmag
INFO
Azymuth's career-defining LP Light As A Feather returns. Home to their worldwide disco/fusion hit single ‘Jazz Carnival’, the samba-doido staple 'Partido Alto', and the proto-deep house masterpiece ‘Avenida Das Mangueiras’, this album typifies the trio’s tireless innovation in the fields of jazz, funk, samba and cosmic music perhaps more so than any of their other ground-breaking records from its era.
Their first release on Milestone Records in 1979, it quickly became one of the best-selling LPs of the year, staying in the UK Top 20 for eight straight weeks with more than half a million copies sold. An incredibly well thought out album both in pace, song selection and musicality, ‘Light As A Feather’ marked a maturing of the band as they began to rightfully utilise the studio as an instrument itself, embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The result is an album that endures to this day as a samba/jazz-funk masterpiece.
First reissued in 2012, the Far Out edition of this seminal recording was remixed and re-mastered from the original 16-track tapes, which were given to Joe Davis by Azymuth. This latest version is the first ever issue to be complete with a download card that that gives access to previously unreleased tracks, including the incredible full length version of 'Jazz Carnival', as well as remixes from house stalwarts Theo Parrish, Ashley Beedle, and Mark E. More
2xLP, Gatefold Jacket, Black Vinyl
The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop's smoothest figures.
Key Marketing/Selling:
- Larry June & The Alchemist are each extremely respected and notable individual artists in the Hip-Hop community
- Album activations in LA, SF, CDMX and NY during release week, with multiple exclusive merch drops planned alongside each release
- The Alchemist routinely sells out of physical product on each drop - CD/CS/LP
- Larry June's previous releases, Orange Print & Spaceships On The Blade, have done exceptionally well at retail
- The Alchemist has put together some of the most sought after physical releases over the last 3+ years
- All production is handled by The Alchemist, with additional production on Track 6 by frequent Griselda collaborator, Beat Butcha
- Features include notable rap luminaries Action Bronson, Big Sean, Slum Village, Ty Dolla $ign, Boldly James, Evidence, Wiz Khalifa, Jay Worthy, Joey Bada$$, & Curren$y
- Extensive press write ups published throughout album rollout such as Rolling Stone, HipHopDX, Billboard, Okayplayer, The Source, BrooklynVegan, Yahoo, Vibe
- Extensive outdoor campaign with multiple billboards secured from all major DSPs
- Each single has been featured and placed on numerous playlists and obtained multiple playlist covers across all DSPs
- Multiple videos released with more on the way
- "Making of" Documentary released in support of album rollout
- 89 Earthquake has over 2.3M streams on Spotify alone since release on 3/1/23 (3/29/23)
- 47 date nationwide tour planned in support of the album, with multiple dates already sold out and additional shows already added. European dates are expected to follow shortly
- Larry June has over 3.3M monthly listeners on Spotify
- The Alchemist has over 6.8M monthly listeners on Spotify
Tracklist:
A1/1. Turkish Cotton
A2/2. 89 Earthquake
A3/3. Solid Plan (feat. Action Bronson)
A4/4. Palisades, CA (feat.Big Sean)
B1/5. Summer Reign (feat. Ty Dolla $ign)
B2/6. Orange Village (feat. Slum Village)
B3/7. Porsches in Spanish
B4/8. Art Talk (feat. Boldy James)
C1/9. Ocean Sounds
C2/10. Left No Evidence (feat. Evidence)
C3/11. What Happened To The World? (feat. Wiz Khalifa)
C4/12. Éxito (feat. Jay Worthy)
D1/13. 60 Days
D2/14. Barragán Lighting (feat. Joey Bada$$ & Curren$y)
D3/15. Margie's Candy House
More
The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop's smoothest figures.
Key Marketing/Selling:
- Larry June & The Alchemist are each extremely respected and notable individual artists in the Hip-Hop community
- Album activations in LA, SF, CDMX and NY during release week, with multiple exclusive merch drops planned alongside each release
- The Alchemist routinely sells out of physical product on each drop - CD/CS/LP
- Larry June's previous releases, Orange Print & Spaceships On The Blade, have done exceptionally well at retail
- The Alchemist has put together some of the most sought after physical releases over the last 3+ years
- All production is handled by The Alchemist, with additional production on Track 6 by frequent Griselda collaborator, Beat Butcha
- Features include notable rap luminaries Action Bronson, Big Sean, Slum Village, Ty Dolla $ign, Boldly James, Evidence, Wiz Khalifa, Jay Worthy, Joey Bada$$, & Curren$y
- Extensive press write ups published throughout album rollout such as Rolling Stone, HipHopDX, Billboard, Okayplayer, The Source, BrooklynVegan, Yahoo, Vibe
- Extensive outdoor campaign with multiple billboards secured from all major DSPs
- Each single has been featured and placed on numerous playlists and obtained multiple playlist covers across all DSPs
- Multiple videos released with more on the way
- "Making of" Documentary released in support of album rollout
- 89 Earthquake has over 2.3M streams on Spotify alone since release on 3/1/23 (3/29/23)
- 47 date nationwide tour planned in support of the album, with multiple dates already sold out and additional shows already added. European dates are expected to follow shortly
- Larry June has over 3.3M monthly listeners on Spotify
- The Alchemist has over 6.8M monthly listeners on Spotify
Tracklist:
A1/1. Turkish Cotton
A2/2. 89 Earthquake
A3/3. Solid Plan (feat. Action Bronson)
A4/4. Palisades, CA (feat.Big Sean)
B1/5. Summer Reign (feat. Ty Dolla $ign)
B2/6. Orange Village (feat. Slum Village)
B3/7. Porsches in Spanish
B4/8. Art Talk (feat. Boldy James)
C1/9. Ocean Sounds
C2/10. Left No Evidence (feat. Evidence)
C3/11. What Happened To The World? (feat. Wiz Khalifa)
C4/12. Éxito (feat. Jay Worthy)
D1/13. 60 Days
D2/14. Barragán Lighting (feat. Joey Bada$$ & Curren$y)
D3/15. Margie's Candy House
More