Label:Emotional Response
Cat-No:ERS063
Release-Date:13.06.2025
Genre:Alternative/Electronic
Configuration:12"
Label:Emotional Response
Cat-No:ERS063
Release-Date:13.06.2025
Genre:Alternative/Electronic
Configuration:12"
1
Exotic Garden - Drugs & TV
2
Exotic Garden - Last Of The Light
3
Exotic Garden - Tonite
4
Exotic Garden - Organize Your Movement
5
Exotic Garden - Turn It On
Emotional Response is delighted to present the debut EP of Aaron Coyes (Peaking Lights / Leisure Connection) new project, as Exotic Gardens. An additional music universe as his love of dub expands to include new wave, goth and acid psychedelics across 5 catchy, bass heavy songs.
While the continuing journey of his duo band, Peaking Lights, with his wife Indra, earns plaudits and fans alike, his early years as a one-man lysergic music polymath that saw his youth in punk and hardcore bands, expanded during a mid-90s burst of “living in San Francisco” creative expansion, devouring music, genres, and influences for life.
Started as a sub-project to Peaking Lights and his personal dub excursions, Exotic Gardens pollinates a rich tapestry. Recording through the pandemic in their then home in Amsterdam, before being archived, assembled, and completed following the move back ‘home’ to the West Coast, California.
Re-embracing that love of his inner goth, the analogue warmth is all there, now featuring Coyes’ dub-languidity of stripped drum machines, widescreen bass, haunting guitar lines and an almost idle voice to peddle true, raw songs.
Combined, the pop layer of hooks and tight grooves instantly catch you. Opener and EP title, Drugs & TV is the perfect anthem for the Exotic Gardens sound, before the “dubwave” of Last Of The Light and Tonite shimmer that yearning melancholy of youth.
In the almost 10 minute dub house opus Organize Your Movement an appreciation and understanding of the psychoactive properties of the Roland 303 and 909, they also hark to a love of Industrial / Noise bands, a lineage from the death pulse of his cult project Rahdunes through to Sound Design and Sound System culture to the pop-dub psychedelics with Indra, now melded here to include a dark assault, whispering invocations and pulsing pads.
To close, Turn It On is a roaming multi-genre evocation, an exotic end from this constant troubadour, cassette junkie, record dealer, sound system builder, always looking to get back on the road, to live to roam.
“I turn it on, you lose your mind’.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
While the continuing journey of his duo band, Peaking Lights, with his wife Indra, earns plaudits and fans alike, his early years as a one-man lysergic music polymath that saw his youth in punk and hardcore bands, expanded during a mid-90s burst of “living in San Francisco” creative expansion, devouring music, genres, and influences for life.
Started as a sub-project to Peaking Lights and his personal dub excursions, Exotic Gardens pollinates a rich tapestry. Recording through the pandemic in their then home in Amsterdam, before being archived, assembled, and completed following the move back ‘home’ to the West Coast, California.
Re-embracing that love of his inner goth, the analogue warmth is all there, now featuring Coyes’ dub-languidity of stripped drum machines, widescreen bass, haunting guitar lines and an almost idle voice to peddle true, raw songs.
Combined, the pop layer of hooks and tight grooves instantly catch you. Opener and EP title, Drugs & TV is the perfect anthem for the Exotic Gardens sound, before the “dubwave” of Last Of The Light and Tonite shimmer that yearning melancholy of youth.
In the almost 10 minute dub house opus Organize Your Movement an appreciation and understanding of the psychoactive properties of the Roland 303 and 909, they also hark to a love of Industrial / Noise bands, a lineage from the death pulse of his cult project Rahdunes through to Sound Design and Sound System culture to the pop-dub psychedelics with Indra, now melded here to include a dark assault, whispering invocations and pulsing pads.
To close, Turn It On is a roaming multi-genre evocation, an exotic end from this constant troubadour, cassette junkie, record dealer, sound system builder, always looking to get back on the road, to live to roam.
“I turn it on, you lose your mind’.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
More records from Emotional Response
1
Pye Corner Audio - Dust Acid
2
Pye Corner Audio - Magnetic Acid Two
3
Pye Corner Audio - Wanna Show U Acid
4
Pye Corner Audio - Magnetic Acid Four
Pye Corner Audio presents his debut for the label with 2 EPs of Acid touched live jams. The main electronic project of Martin Jenkins, here he detours from his on-going journey of the mysterious foggy soundtrack inspirations and fragments of techno, here adding deep, dark 303 fuelled experiments, clearly aimed at dark dancefloors.
After decades of experience working in London recording studios, his recent time near the South Coast has born incredible fruition, with releases on a who’s who of electronic labels – Ghost Box, Type, Ecstatic and Lapsus – that showcased a fragility of electronics, mixing Radiophonic and Library sounds, touches of post punk aesthetics and the deep pulse of the 4/4, Jenkins (aka The Head Technician) has offered a series of timeless albums over the past decade and more, including the much heralded Black Mill Tape series.
Recorded while the world was in lockdown, these EPs update Jenkins moody, retro-futuristic sound with a clear love of Acid House that can be traced back to halcyon raves of his youth.
The sparse sounds and spatial dub are all there, the favoured stripped back collection of equipment were pulled even further to be just the crucial Roland RE-501 (Space Echo), Roland TR-06 and TR-08 drum machines, the audio alchemy of the Make Noise Stada and the all-important Cyclone TT-303.
Mostly recorded live to reel-to-reel, then bounced back at half speed, lightly edited and transposed down an octave, the murky acidtronics join Pye Corner’s signature audio visual meets vintage touch.
From the pure club acid trax of opener Dust Acid to the deep 303 experiments of the aptly titled, Wanna Show U Acid and Magnetic Acid Four, Pye Corner Audio covers the cinematic, the psychedelic, to the dark, the basement throb, as only this master technician dreams.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
After decades of experience working in London recording studios, his recent time near the South Coast has born incredible fruition, with releases on a who’s who of electronic labels – Ghost Box, Type, Ecstatic and Lapsus – that showcased a fragility of electronics, mixing Radiophonic and Library sounds, touches of post punk aesthetics and the deep pulse of the 4/4, Jenkins (aka The Head Technician) has offered a series of timeless albums over the past decade and more, including the much heralded Black Mill Tape series.
Recorded while the world was in lockdown, these EPs update Jenkins moody, retro-futuristic sound with a clear love of Acid House that can be traced back to halcyon raves of his youth.
The sparse sounds and spatial dub are all there, the favoured stripped back collection of equipment were pulled even further to be just the crucial Roland RE-501 (Space Echo), Roland TR-06 and TR-08 drum machines, the audio alchemy of the Make Noise Stada and the all-important Cyclone TT-303.
Mostly recorded live to reel-to-reel, then bounced back at half speed, lightly edited and transposed down an octave, the murky acidtronics join Pye Corner’s signature audio visual meets vintage touch.
From the pure club acid trax of opener Dust Acid to the deep 303 experiments of the aptly titled, Wanna Show U Acid and Magnetic Acid Four, Pye Corner Audio covers the cinematic, the psychedelic, to the dark, the basement throb, as only this master technician dreams.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Pye Corner Audio - Stregan Acid
2
Pye Corner Audio - Magnetic Acid Three
3
Pye Corner Audio - Thermionic Acid
4
Pye Corner Audio - Magnetic Acid One
Pye Corner Audio presents his debut for the label with 2 EPs of Acid touched live jams. The main electronic project of Martin Jenkins, here he detours from his on-going journey of the mysterious foggy soundtrack inspirations and fragments of techno, here adding deep, dark 303 fuelled experiments, clearly aimed at dark dancefloors.
After decades of experience working in London recording studios, his recent time near the South Coast has born incredible fruition, with releases on a who’s who of electronic labels – Ghost Box, Type, Ecstatic and Lapsus – that showcased a fragility of electronics, mixing Radiophonic and Library sounds, touches of post punk aesthetics and the deep pulse of the 4/4, Jenkins (aka The Head Technician) has offered a series of timeless albums over the past decade and more, including the much heralded Black Mill Tape series.
After providing a Recorded while the world was in lockdown, these EPs update Jenkins moody, retro-futuristic sound with a clear love of Acid House that can be traced back to halcyon raves of his youth.
The sparse sounds and spatial dub are all there, the favoured stripped back collection of equipment were pulled even further to be just the crucial Roland RE-501 (Space Echo), Roland TR-06 and TR-08 drum machines, the audio alchemy of the Make Noise Stada and the all-important Cyclone TT-303.
Mostly recorded live to reel-to-reel, then bounced back at half speed, lightly edited and transposed down an octave, the murky acidtronics join Pye Corner’s signature audio visual meets vintage touch.
Starting deeper than EP1, Stregan Acid bubbles and broods, building to hats and 303 as absolute crescendo, while Magnetic Acid Three takes it towards the calling basement lights. The unrelenting 4/4 kick of the club is there with Thermionic Acid, before the stripped to the bare elements of Magnetic Acid One comes full circle and Pye Corner Audio completes this cinematic, psychedelic, dark, basement throb, a master technician dreams.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
After decades of experience working in London recording studios, his recent time near the South Coast has born incredible fruition, with releases on a who’s who of electronic labels – Ghost Box, Type, Ecstatic and Lapsus – that showcased a fragility of electronics, mixing Radiophonic and Library sounds, touches of post punk aesthetics and the deep pulse of the 4/4, Jenkins (aka The Head Technician) has offered a series of timeless albums over the past decade and more, including the much heralded Black Mill Tape series.
After providing a Recorded while the world was in lockdown, these EPs update Jenkins moody, retro-futuristic sound with a clear love of Acid House that can be traced back to halcyon raves of his youth.
The sparse sounds and spatial dub are all there, the favoured stripped back collection of equipment were pulled even further to be just the crucial Roland RE-501 (Space Echo), Roland TR-06 and TR-08 drum machines, the audio alchemy of the Make Noise Stada and the all-important Cyclone TT-303.
Mostly recorded live to reel-to-reel, then bounced back at half speed, lightly edited and transposed down an octave, the murky acidtronics join Pye Corner’s signature audio visual meets vintage touch.
Starting deeper than EP1, Stregan Acid bubbles and broods, building to hats and 303 as absolute crescendo, while Magnetic Acid Three takes it towards the calling basement lights. The unrelenting 4/4 kick of the club is there with Thermionic Acid, before the stripped to the bare elements of Magnetic Acid One comes full circle and Pye Corner Audio completes this cinematic, psychedelic, dark, basement throb, a master technician dreams.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Roy Of The Ravers - Primavera Anjo
2
Roy Of The Ravers - Planet Earth
3
Roy Of The Ravers - G-Force
4
Roy Of The Ravers - Glass Knife
The return of Roy Of The Ravers is always a moment for Emotional Response. Alongside, the infinitely heralded debut that was the 2 Late 4 Love EP in 2016 and the later Emotinium ’23 remixes, there has been the While Line Sunrise series examining the ambient, experimental electronics meets braindance techno releases that showcased lost archives from the late 90s to today, here reaching the 3rd installment with 2 EPs of more machine-driven acid funk.
Following the grand expanse of double LP White Line Sunrise II and its subsequent double pack follow up White Line Sunrise II.I (Le Roy Soliel), III (3) aims predominantly for the dance floor. The uplifting techno of opening Primavera Anjo and squelching TB303 of Plant Earth are premier Roy, hypnotic, percussive, psychedelic purity for the feet.
The flip allows head room for the mind, the deep chords and arpeggios of G-Force signal the vortex shift, before the cinematic, rolling breaks and double bass of Glass Knife sweep far and wide. Recording over 25 years ago, the changing time signatures highlight the influence of (modern) classical and even jazz on Roy, pulsing, permeating, and pushing his sound in the moment, music thought lost that is gladly now, again found.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Following the grand expanse of double LP White Line Sunrise II and its subsequent double pack follow up White Line Sunrise II.I (Le Roy Soliel), III (3) aims predominantly for the dance floor. The uplifting techno of opening Primavera Anjo and squelching TB303 of Plant Earth are premier Roy, hypnotic, percussive, psychedelic purity for the feet.
The flip allows head room for the mind, the deep chords and arpeggios of G-Force signal the vortex shift, before the cinematic, rolling breaks and double bass of Glass Knife sweep far and wide. Recording over 25 years ago, the changing time signatures highlight the influence of (modern) classical and even jazz on Roy, pulsing, permeating, and pushing his sound in the moment, music thought lost that is gladly now, again found.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Roy Of The Ravers - Fenix Haus 6
2
Roy Of The Ravers - Exit Ren8
3
Roy Of The Ravers - Crista Theme
4
Roy Of The Ravers - White Line Sunrise III
The second part of Roy’s return to Emotional Response and the While Line Sunrise series dives further in old Hard Drives and DATs to unearth more lost techno for the brain, heart and feet.
Ensuing melody for driving beats, Fenix Haus 6 is a TB303 blast. Electro meets acid, the focus is on the rhythm, percussion is pushed to the fore and the rest will follow. Exit Ren8 brings some melody touches to the jacked-up ride, acid melodies ride classic Roy beats, programming for the mind and soul.
As with Part 1, here the flip expands the retinae of the found sound, Cristia Theme with flourishes of IDM and industrial touches, wrapped in a sheen of acid squelches and snap hats.
The series completes with the theme, the ambient meets kosmiche of White Line Sunrise III. Minimalist keys against cathedral sweeps, motorik drums float in and are gone, a grandiose ending with, as always, a light hearted ending, Roy’s return is a welcome and an intriguing interlude.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Ensuing melody for driving beats, Fenix Haus 6 is a TB303 blast. Electro meets acid, the focus is on the rhythm, percussion is pushed to the fore and the rest will follow. Exit Ren8 brings some melody touches to the jacked-up ride, acid melodies ride classic Roy beats, programming for the mind and soul.
As with Part 1, here the flip expands the retinae of the found sound, Cristia Theme with flourishes of IDM and industrial touches, wrapped in a sheen of acid squelches and snap hats.
The series completes with the theme, the ambient meets kosmiche of White Line Sunrise III. Minimalist keys against cathedral sweeps, motorik drums float in and are gone, a grandiose ending with, as always, a light hearted ending, Roy’s return is a welcome and an intriguing interlude.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Shelter - Kings, Knights And Rooks
2
Shelter - The Queen's Sacrifice
3
Shelter - King's Indian Dub
4
Shelter - Shutting Out Bishops
Emotional Response is proud to welcome renowned multi-instrumentalist Alan Briand aka Shelter, to the label with a striking new EP that delves deep into the realms of modern Digi-Dub.
Over a myriad of releases Shelter’s dextrous ability to straddle genres, from ambient, Balearic, improvisation and most recently a series of acid ragas, releasing on an impressive roster of today’s electronic labels including Antinote, Growing Bin, International Feel, Séance Centre and his own Protopost imprint.
After making waves on Emotional Response's All Trades compilations with his standout track "The Four Knights Dub," Briand returns to further explore his passion for digital dub and UK roots. Across four tracks, all recorded live, he merges sound design, found sounds, and world music with seismic basslines, creating a truly immersive sonic experience.
The rise of Digital Dub is often traced to the groundbreaking "Under Me Sleng Teng" by Prince Jammy / Wayne Smith, but it was the UK's later reversioning – adding electronic drums to roots and steppers rhythms – that gave birth to the unique sound of Digi-Dub.
Shelter pays homage to this tradition, drawing inspiration from the likes of Alpha & Omega, Bush Chemist, and Jonah Dan. His process is as raw as it is innovative: building an analog setup with a MIDI sequencer, DCO synth, live vocals, and sound effects fed through Boss pedals. Digital drums from the KPR77 and DD10 are layered in, with everything mixed live to tape, no overdubs, capturing the raw, live energy of the performance.
This EP must be experienced as a whole – a continuous live set of steppers 4/4 rhythms, cryptic titles (a nod to chess tactics) that acts as rewinds, paying tribute to dub classics of the past.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Over a myriad of releases Shelter’s dextrous ability to straddle genres, from ambient, Balearic, improvisation and most recently a series of acid ragas, releasing on an impressive roster of today’s electronic labels including Antinote, Growing Bin, International Feel, Séance Centre and his own Protopost imprint.
After making waves on Emotional Response's All Trades compilations with his standout track "The Four Knights Dub," Briand returns to further explore his passion for digital dub and UK roots. Across four tracks, all recorded live, he merges sound design, found sounds, and world music with seismic basslines, creating a truly immersive sonic experience.
The rise of Digital Dub is often traced to the groundbreaking "Under Me Sleng Teng" by Prince Jammy / Wayne Smith, but it was the UK's later reversioning – adding electronic drums to roots and steppers rhythms – that gave birth to the unique sound of Digi-Dub.
Shelter pays homage to this tradition, drawing inspiration from the likes of Alpha & Omega, Bush Chemist, and Jonah Dan. His process is as raw as it is innovative: building an analog setup with a MIDI sequencer, DCO synth, live vocals, and sound effects fed through Boss pedals. Digital drums from the KPR77 and DD10 are layered in, with everything mixed live to tape, no overdubs, capturing the raw, live energy of the performance.
This EP must be experienced as a whole – a continuous live set of steppers 4/4 rhythms, cryptic titles (a nod to chess tactics) that acts as rewinds, paying tribute to dub classics of the past.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Terra Utopia - Infinity's Edge
2
Terra Utopia - Shadow Of Memories (Ft. dvdv)
3
Terra Utopia - Smell Of Heaven
4
Terra Utopia - Depths Serenity
5
Terra Utopia - Abloom
6
Terra Utopia - Likwid Mindz
7
Terra Utopia - TX-Trailinguistic
8
Terra Utopia - Wick3d
Terra Utopia returns to Emotional Response with a second long-from EP / mini-LP, 10 more tracks that span the ethereal sounds of ambient, atmospheric beats and liquid drum and bass.
Originally intended as a one-off project from French producer Benoit B, Terra Utopia 1 was recorded in 2 weeks while sojourned in an Athens’ Spring. A personal dedication to a specific sound he loved.
Since the original release, a debut LP under his own name followed, before Benoit embarked on his new club orientated project Blu:sh, releasing a series of acclaimed EPs for the likes of esteemed Kalahari Oyster Club and Roza Terenzi’s Step Ball Chain label.
However, the incredibly positive feedback of the first Terra Utopia recordings led to reappraisal and return to the name and here again, a second set of 10 tracks (8 vinyl and 2 digital bonus).
Once more recorded as short pieces – cut loud for DJ play – they interconnect to feelings of intangible expanses, that embracing summer, the warmth, a latent stillness of the azure sea and sky. This invitation, a narrative forever calling, of long days, calm nights, the infinite astral plain in minds eye.
The ambience has progressed, beats crackle and snap, tracks visualise an individuality, names are anointed, with the collaboration with singer dvdv on Shadows Of Memories, a floating, mesmeric highpoint, a dreaming siren.
No fears, the children of the heat embark.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Originally intended as a one-off project from French producer Benoit B, Terra Utopia 1 was recorded in 2 weeks while sojourned in an Athens’ Spring. A personal dedication to a specific sound he loved.
Since the original release, a debut LP under his own name followed, before Benoit embarked on his new club orientated project Blu:sh, releasing a series of acclaimed EPs for the likes of esteemed Kalahari Oyster Club and Roza Terenzi’s Step Ball Chain label.
However, the incredibly positive feedback of the first Terra Utopia recordings led to reappraisal and return to the name and here again, a second set of 10 tracks (8 vinyl and 2 digital bonus).
Once more recorded as short pieces – cut loud for DJ play – they interconnect to feelings of intangible expanses, that embracing summer, the warmth, a latent stillness of the azure sea and sky. This invitation, a narrative forever calling, of long days, calm nights, the infinite astral plain in minds eye.
The ambience has progressed, beats crackle and snap, tracks visualise an individuality, names are anointed, with the collaboration with singer dvdv on Shadows Of Memories, a floating, mesmeric highpoint, a dreaming siren.
No fears, the children of the heat embark.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Apiento & Tepper - 606 Dog
2
Other Lands - The Old Ways
3
Datasal - Sea Palace
4
Black Bones - Tipping Point
5
Froid Dub - Item By Item (Dub)
6
Paperclip Minimiser - Planarian Wormhole
7
Cosmo Vitelli & Die Wilde Jagd - Elixir
8
Amy Denio - Fresh Fish
9
Exotic Gardens - Soundwaves & Dark Caves
10
Yamila & SoFa Elsewhere - Yo Tampoco
11
Valentina Magaletti - Radio77
12
Ocean Moon - Light Vibrations
You can never really pin down what the excellent Emotional Repose label does and that is exactly the sinking behind the title of its superb All Trades show on NTS. The sheer eclecticism of that show is now reflected in this new two-part compilation, also called All Trades, which offers up little morsels of what they do, something like a sonic tasting menu at a fancy restaurant. There is chugging electronic dub from Apiento & Tepper, industrial clatter from Black Bones, cosmic ambient breakbeat from Paperclip Minimiser and blissed out dub from Yamila & SoFa Elsewhere amongst many more highlights.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Tolouse Low Trax - Ossia Dub
2
T Woc - Luminescence
3
Al Wootton - Altai
4
Iro Aka - Generations
5
HLM38 - Mystery Train Riddim
6
Jamie Paton - Lost Margins
7
Good Block - Strong Relax
8
While My Sequencer Gently Bleeps - Ready
9
Anatolian Weapons - Mountain Echoes
10
Shelter - The Four Knights (Dub)
11
Zongamin - GGANTIJA
12
Akulina - Waiting
Emotional Response returns with a second volume of its All Trades compilation which is named after its own NTS show. It is just as vast both in terms of style but also the eras it spans with a mix of dub, new wave, slow motion electronics and plenty in between. Tolouse Low Trax kicks off with the filthy dirty and seriously heavy dub glitch of 'Ossia' to provide an early highlight before the likes of Al Wootton get percussive and tribal with 'Altai' and HLM38 channels some African Head Charge on another devastating dub cut. Later on, London's Good Block brings a little more light and sunshine with their lovely 'Strong Relax.'
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Emotional Response
Cat-No:ERS054
Release-Date:18.08.2023
Genre:Alternative/Electronic
Configuration:12"
Label:Emotional Response
Cat-No:ERS054
Release-Date:18.08.2023
Genre:Alternative/Electronic
Configuration:12"
1
Benedikt Frey - She's Lost Control (Vocal Version)
2
Benedikt Frey - She's Lost Control (Instrumental Version)
3
Benedikt Frey - She's Lost Control (Lucas Croon Dub)
4
Benedikt Frey - She's Lost Control (Dub)
Repress!
Emotional Response's 10th-anniversary celebration are brought to a superb close with Benedikt Frey. He serves up a magnificently dubbed out and psychedelic cover version of Joy Division's 'She's Love Control across four different versions. The vocal version might be the best for us - it retinas that compelling dark drum funk you expect from the band with eerie synth additions and hefty bass. The instrumental is more slow and dubbed out in a traditional sense with the Lucas Croon dub doused in endless reverb. Last of all is a dub by Frey himself that is full of open space and bass bin distorting headiness.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Emotional Response's 10th-anniversary celebration are brought to a superb close with Benedikt Frey. He serves up a magnificently dubbed out and psychedelic cover version of Joy Division's 'She's Love Control across four different versions. The vocal version might be the best for us - it retinas that compelling dark drum funk you expect from the band with eerie synth additions and hefty bass. The instrumental is more slow and dubbed out in a traditional sense with the Lucas Croon dub doused in endless reverb. Last of all is a dub by Frey himself that is full of open space and bass bin distorting headiness.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Tolouse Low Trax - Sketches Of A Destroyed Meadow
2
Infuso Giallo - Torus
3
Claude De Tapol - Du Train Jaune
4
Puma & The Dolphin - The Grass Drum
5
t-woc - Marty Eek
6
Houschyar - Intercontinental
7
Lamusa II - Artificiale
8
YNV - Dw3
9
Bolva - Rite II
10
Anatolian Weapons - Float
11
URVERHEXT - Ubertan
12
Velvet C - Exalt Cut
Repress!
Emotional Response is delighted to present elsewhere LVI. The 4th of soFa's compilation series, this double LP takes us to the darker side of the elsewhere ouvre, via another 12 artist / 12 track travelogue. With certain future-retro feelings, this is club music for the open minded. An album that roams from dreamy ambient territories to rhythmic patterns - internationalism for the adventurous DJ. Rusty slow-mo bangers and post-industrial synth-wave kidnap the listener to a dystopic and shady wasteland. Elements of ethnic folk, vintage vocoders and Gamelan samples all united on one homogeneous selection. With artists now known to welcoming new brethren, this is an audio trip to leave reality behind. Exotic, hypnotic, tactile, trance-inducing meditations, washed down with a spoonful of magick.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Emotional Response is delighted to present elsewhere LVI. The 4th of soFa's compilation series, this double LP takes us to the darker side of the elsewhere ouvre, via another 12 artist / 12 track travelogue. With certain future-retro feelings, this is club music for the open minded. An album that roams from dreamy ambient territories to rhythmic patterns - internationalism for the adventurous DJ. Rusty slow-mo bangers and post-industrial synth-wave kidnap the listener to a dystopic and shady wasteland. Elements of ethnic folk, vintage vocoders and Gamelan samples all united on one homogeneous selection. With artists now known to welcoming new brethren, this is an audio trip to leave reality behind. Exotic, hypnotic, tactile, trance-inducing meditations, washed down with a spoonful of magick.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Emotional Response
Cat-No:ERS051
Release-Date:09.12.2022
Genre:Alternative/Electronic
Configuration:12"
Label:Emotional Response
Cat-No:ERS051
Release-Date:09.12.2022
Genre:Alternative/Electronic
Configuration:12"
1
Elektronik Body Girl - The Voice
2
Elektronik Body Girl - Jiburi
3
Elektronik Body Girl - Cantaremos Cosas Simples
4
Elektronik Body Girl - Alba
5
Elektronik Body Girl - Alba (Tolouse Low Trax Remix)
Emotional Response presents Elektronik Body Girl, a musical alter-ego of artist Shelbatra Jashari, with production by soFa elsewhere. Spontaneously born out of 2 souls in an imaginary industrial wasteland of earthly survivors, this Belgo-Albanian postpunk extravaganza is perfectly suited for our unreal times.
Infused with raw attitude and improvisational approach, Shelbatra is an artist, dancer, performer, and singer in search of challenges and expressive forms into new territory, with an individual way in dealing with the ""empowering feminine" and its representation - a vision central to her artistic creation.
Teaming up with Brussels based soFa DJ, they debut an EP of challenging story-telling comes backed with a wonderfully conjured beatdown remix by label associate, Tolouse Low Trax, to act as a seal of (dis)approval.
First known as a DJ and selector and then compilation curator of the "elsewhere" series of albums across multiple labels - including Emotional Response (ERS042) - soFa recent collaborations as Mameen 3 on Bongo Joe, CCCVVV on Strangelove Music and the highly praised album with Houschyar and Okay Temiz on Second Circle, has established him as a producer of repute in an incredibly short time space.
Taking a production backseat to underpin Jashari's performance, his percussive, atmospheric oeuvre allows her vocals to explore roots in both Kosova and Belgium, molding a focus on the art of "the other" or the outsider. Outside the "normality"", a different energy is heard. Exploring elements of the human body, the human condition and its representation in various "thinking" systems and political contexts, EBG is manifestation in sound and movement.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Infused with raw attitude and improvisational approach, Shelbatra is an artist, dancer, performer, and singer in search of challenges and expressive forms into new territory, with an individual way in dealing with the ""empowering feminine" and its representation - a vision central to her artistic creation.
Teaming up with Brussels based soFa DJ, they debut an EP of challenging story-telling comes backed with a wonderfully conjured beatdown remix by label associate, Tolouse Low Trax, to act as a seal of (dis)approval.
First known as a DJ and selector and then compilation curator of the "elsewhere" series of albums across multiple labels - including Emotional Response (ERS042) - soFa recent collaborations as Mameen 3 on Bongo Joe, CCCVVV on Strangelove Music and the highly praised album with Houschyar and Okay Temiz on Second Circle, has established him as a producer of repute in an incredibly short time space.
Taking a production backseat to underpin Jashari's performance, his percussive, atmospheric oeuvre allows her vocals to explore roots in both Kosova and Belgium, molding a focus on the art of "the other" or the outsider. Outside the "normality"", a different energy is heard. Exploring elements of the human body, the human condition and its representation in various "thinking" systems and political contexts, EBG is manifestation in sound and movement.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Cherrystones - FlooriDa
2
Cherrystones - Upon Etched Glass
3
Cherrystones - Myriad
4
Cherrystones - Silk Maker
5
Cherrystones - Apache Back Swing (Swung)
6
Cherrystones - The Canal
Cherrystones returns with the second of the "Aged" EPs for Emotional Response. Time propels and so does sound, thus orbiting nuances and motion leads us here, to present whatever maybe or interpreted as. Since the acclaimed Aged Of Bronze EP a symbiotic progress of craft arrives in the aptly titled Aged Of Silver. Again each track is like a coded syntax, unlocking the puzzle to aid a listeners journey and experience, building blocks to a utopian scape in form without form notes and pictures living and residing in the dimensions.
Never pandering to trends, his art based on immediacy and the moment, no disposable sub genres that fade as fast as they emerge, transposing and emitting heard and unheard a way to communicate with himself and those that identify.
A capsule of touched emotions bearing gifts for those in the present and wishing to be present, a key with keys analogue for Silver Tongues and Brass monkeys living in the shadow of a Scorpian's Tail.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Never pandering to trends, his art based on immediacy and the moment, no disposable sub genres that fade as fast as they emerge, transposing and emitting heard and unheard a way to communicate with himself and those that identify.
A capsule of touched emotions bearing gifts for those in the present and wishing to be present, a key with keys analogue for Silver Tongues and Brass monkeys living in the shadow of a Scorpian's Tail.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Terra Utopia - #01
2
Terra Utopia - #02
3
Terra Utopia - #03
4
Terra Utopia - #04
5
Terra Utopia - #05
6
Terra Utopia - #06
7
Terra Utopia - #07
8
Terra Utopia - #08
Emotional Response is delighted to present Benoit B's new project Terra Utopia - 8 tracks of atmospheric breaks that unfold across ambient, beats and drum and bass.
This debut offers the artist a new direction, connected to feelings of an intangible warmth, where empty urban expanse and latent stillness meets a Mediterranean azure of sky and sea, oscillating, ethereal.
The music was created in a short time frame; short pieces, linked around a laconic structure flowing as if across some imaginary astral void.
An invitation, where time slows, days stretch, cloudless nights lead to a romantic dawn, the narrative to allow the listener the space and choice to dream.
Fear no more, the heat of the sun.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
This debut offers the artist a new direction, connected to feelings of an intangible warmth, where empty urban expanse and latent stillness meets a Mediterranean azure of sky and sea, oscillating, ethereal.
The music was created in a short time frame; short pieces, linked around a laconic structure flowing as if across some imaginary astral void.
An invitation, where time slows, days stretch, cloudless nights lead to a romantic dawn, the narrative to allow the listener the space and choice to dream.
Fear no more, the heat of the sun.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Alexis Georgopoulos / Jefre Cantu Ledesm - The Letter
2
Alexis Georgopoulos / Jefre Cantu Ledesm - Marine
3
Alexis Georgopoulos / Jefre Cantu Ledesm - Madagascar
4
Alexis Georgopoulos / Jefre Cantu Ledesm - Cleo
5
Alexis Georgopoulos / Jefre Cantu Ledesm - The Seventh Century
6
Alexis Georgopoulos / Jefre Cantu Ledesm - The Marble Sky
7
Alexis Georgopoulos / Jefre Cantu Ledesm - Mirror The Clouds
8
Alexis Georgopoulos / Jefre Cantu Ledesm - Lost Summer
9
Alexis Georgopoulos / Jefre Cantu Ledesm - Fragrance
10
Alexis Georgopoulos / Jefre Cantu Ledesm - The Streets Are Filled With Rain
11
Alexis Georgopoulos / Jefre Cantu Ledesm - Vanishing Point
Emotional Response celebrates it's 10th Anniversary in repressing a label's long held favourite - Jefre Cantu-Ledesma and Alexis Georgopoulos wonderful Fragments Of A Season - coming together perfectly for an album of laconic story-telling and atmospherics.
Over the past decade, Cantu-Ledesma and Georgopoulos have been frequent collaborators. With one another - Jefre's recent ""On The Echoing Green' (Mexican Summer), Arp's "The Soft Wave" (Smalltown Supersound) and The Alps "Le Voyage" (Type) - and with others. Jefre has worked with Grouper (aka Liz Harris), filmmaker Paul Clipson and has released music by Harold Budd, Oneohtrix Point Never and Keith Fullerton Whitman on his Root Strata imprint, while Alexis has worked with visual artists Tauba Auerbach and Doug Aitken, scored dance for Merce Cunningham, choreographer Jonah Bokaer and made liminal classical music with Canterbury composer Anthony Moore (FRKWYS 3 / RVNG Intl.).
In all of their projects, the two have always been masters of atmosphere. Veering between romantic abstraction, filmic ambiguity and suggested narrative, their music draws on personal and collective memory, letting things surface. Fragments Of A Season represents a new and distinct chapter in their ongoing work together, continuing this lineage of understated but resonant work.
Arising from conversations wherein each revealed that they'd been working on tracks with a similar feel in mind, the two quickly realized their songs fit together quite effortlessly. The goal was to do something immediate and spare - most songs simply use an old drum machine and a few chorused guitars, featuring live performances with minimal editing. The result, and indeed the goal of the project, was not to make an album that would simply sounds like what one would expect of the two - there are no modular synths or sequenced basslines, no motorik rhythms or overdriven distortions. Rather, to pursue a tangent of simplicity and clarity.
The result is an album of warmth and cool, sparse but evocative, earthy and luminous, narrative and abstract, taking influence from Les Disques Crepescule and early Cherry Red artists i the duo also cite Eric Rohmer's "A Summer's Tale" and the photography of Luigi Ghirri, whose image graces the cover.
Song titles provide narrative hints. As does New York-based writer Leigh Gallagher's short story enclosed within. Each song finds the story advancing - on the beach (""Marine""); at a discotheque (""Madagascar""); sleeping in the afternoon ("Mirror The Sky"). Memory of cobblestone streets and a recent relationship (""Cleo"", "The Streets Are Filled With Rain"). A sense that this temporary idyll will end casts a shadow. Ultimately, for reasons unclear, it does (""Lost Summer"").
There is the sense that a distinct arc has taken place. On some faraway beach, the buildings are white, the skies and sea turquoise. Waves rise and crest. A shaft of light crosses an empty room. A discotheque can be heard in the distance. A mist burns off. Over the course of the ensuing astral summer weeks, an encounter sets the world known previously in relief. Days stretch out and the nights hum.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Over the past decade, Cantu-Ledesma and Georgopoulos have been frequent collaborators. With one another - Jefre's recent ""On The Echoing Green' (Mexican Summer), Arp's "The Soft Wave" (Smalltown Supersound) and The Alps "Le Voyage" (Type) - and with others. Jefre has worked with Grouper (aka Liz Harris), filmmaker Paul Clipson and has released music by Harold Budd, Oneohtrix Point Never and Keith Fullerton Whitman on his Root Strata imprint, while Alexis has worked with visual artists Tauba Auerbach and Doug Aitken, scored dance for Merce Cunningham, choreographer Jonah Bokaer and made liminal classical music with Canterbury composer Anthony Moore (FRKWYS 3 / RVNG Intl.).
In all of their projects, the two have always been masters of atmosphere. Veering between romantic abstraction, filmic ambiguity and suggested narrative, their music draws on personal and collective memory, letting things surface. Fragments Of A Season represents a new and distinct chapter in their ongoing work together, continuing this lineage of understated but resonant work.
Arising from conversations wherein each revealed that they'd been working on tracks with a similar feel in mind, the two quickly realized their songs fit together quite effortlessly. The goal was to do something immediate and spare - most songs simply use an old drum machine and a few chorused guitars, featuring live performances with minimal editing. The result, and indeed the goal of the project, was not to make an album that would simply sounds like what one would expect of the two - there are no modular synths or sequenced basslines, no motorik rhythms or overdriven distortions. Rather, to pursue a tangent of simplicity and clarity.
The result is an album of warmth and cool, sparse but evocative, earthy and luminous, narrative and abstract, taking influence from Les Disques Crepescule and early Cherry Red artists i the duo also cite Eric Rohmer's "A Summer's Tale" and the photography of Luigi Ghirri, whose image graces the cover.
Song titles provide narrative hints. As does New York-based writer Leigh Gallagher's short story enclosed within. Each song finds the story advancing - on the beach (""Marine""); at a discotheque (""Madagascar""); sleeping in the afternoon ("Mirror The Sky"). Memory of cobblestone streets and a recent relationship (""Cleo"", "The Streets Are Filled With Rain"). A sense that this temporary idyll will end casts a shadow. Ultimately, for reasons unclear, it does (""Lost Summer"").
There is the sense that a distinct arc has taken place. On some faraway beach, the buildings are white, the skies and sea turquoise. Waves rise and crest. A shaft of light crosses an empty room. A discotheque can be heard in the distance. A mist burns off. Over the course of the ensuing astral summer weeks, an encounter sets the world known previously in relief. Days stretch out and the nights hum.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Kito Jempere - Your Ghost In Me (feat Hart Ton, Noteless & Ruf Dug - Lipelis Remix)
2
Kito Jempere - A King Of Comet (feat New Composers - Samo DJ Remix)
3
Kito Jempere - Time Traveller (feat Cefric Gasaida, Lipelis & Mujuice - Cable Toy Remix)
4
Kito Jempere - Untitled Ritual (feat Noteless Linja Remix)
With such a collaboration heavy project in the "Yet Another Kito Jempere Album" announced it is no surprise that this following remixes pack comes laden with familiar friends'n'family, plus additional support.
Taking the ambient meets acappella paene Your Ghost In Me and creating one of his on-point dance floor dramas, Lipelis (Animals Dancing / LIES), utilising Hard Ton's classic 'US House' vocal delivery to create a perfect "big room" anthem.
Next up Born Free boss, Samo DJ (Public Possession / Trilogy Tapes) pumps A King Of Comets with Mood II Swing punch meets Ballistic Brothers riddim'n'culture for some hip-breaks-dancehall swing.
Cable Toy (Low Budget Family) presents the label favourite with his bouncing, yearning remix of album stand out, Time Traveller. Countered with a perfect touch of summer vibrations and melancholia this up and coming St Petersburg resident has to be watched.
Finally, Linja (Avidiya / Malka Tuti) offers a deep, shuffling version of Untitled Ritual. Arpeggios throb, percussion snaps, tempos shift, planets realign, vocals by Noteless call...wait believing, just we have seen it, God is waiting, nothing can bleeding.
Only friends. Only family. This is Kito's emotional response.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Taking the ambient meets acappella paene Your Ghost In Me and creating one of his on-point dance floor dramas, Lipelis (Animals Dancing / LIES), utilising Hard Ton's classic 'US House' vocal delivery to create a perfect "big room" anthem.
Next up Born Free boss, Samo DJ (Public Possession / Trilogy Tapes) pumps A King Of Comets with Mood II Swing punch meets Ballistic Brothers riddim'n'culture for some hip-breaks-dancehall swing.
Cable Toy (Low Budget Family) presents the label favourite with his bouncing, yearning remix of album stand out, Time Traveller. Countered with a perfect touch of summer vibrations and melancholia this up and coming St Petersburg resident has to be watched.
Finally, Linja (Avidiya / Malka Tuti) offers a deep, shuffling version of Untitled Ritual. Arpeggios throb, percussion snaps, tempos shift, planets realign, vocals by Noteless call...wait believing, just we have seen it, God is waiting, nothing can bleeding.
Only friends. Only family. This is Kito's emotional response.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Roy Of The Ravers - The Smell Of Orange Peel
2
Roy Of The Ravers - Kliszewicz Klopcic Klim
3
Roy Of The Ravers - City Limits
4
Roy Of The Ravers - Feathers
5
Roy Of The Ravers - Versace 101624
6
Roy Of The Ravers - The Clock House (Pt 1)
7
Roy Of The Ravers - EL-9400
8
Roy Of The Ravers - My Brother & His Mate
Emotional Response celebrates its 50th release with a special limited-edition from label stalwart Roy Of The Ravers. Following 2019’s magnum opus White Sunrise II is the accompanying “Soliel”, where our nom dee plume delves further into his archives of recently rediscovered disks to present an 8-track double pack, cut loud for DJ play.
The music too is more expansive, with the ambient and techno signatures matched with touches of jazz keys, Balearic sampledelica and even acoustic outtakes, all with that Ravers humour included.
The opening cinematic symphonies of The Smell Of Orange Peel and Kliszewicz Klopcic Klim highlight again a side not seen on his more acid / club cuts found on various labels. However, it’s the B side that compounds expectations with the deep house meets techno melodics of City Limits, before the ever-expanding feel-good vibrations of center piece Feathers hooks all. Sometimes a simple groove and catchy vocal sample is all you need to create a classic.
The second half then glides with 14 minutes of house dramatics via Versace 101624, a master of arrangement and beats, preempting the interlude of Clock House’s return. To close, EL-9400’s intense scatter percussion melds with anthemic acid undertones before its 2nd half melts to a choral ambience, leading to the closing acoustic jam dub curiosity My Brother And His Mate and the curtain for another stage in the Roy sagas.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
The music too is more expansive, with the ambient and techno signatures matched with touches of jazz keys, Balearic sampledelica and even acoustic outtakes, all with that Ravers humour included.
The opening cinematic symphonies of The Smell Of Orange Peel and Kliszewicz Klopcic Klim highlight again a side not seen on his more acid / club cuts found on various labels. However, it’s the B side that compounds expectations with the deep house meets techno melodics of City Limits, before the ever-expanding feel-good vibrations of center piece Feathers hooks all. Sometimes a simple groove and catchy vocal sample is all you need to create a classic.
The second half then glides with 14 minutes of house dramatics via Versace 101624, a master of arrangement and beats, preempting the interlude of Clock House’s return. To close, EL-9400’s intense scatter percussion melds with anthemic acid undertones before its 2nd half melts to a choral ambience, leading to the closing acoustic jam dub curiosity My Brother And His Mate and the curtain for another stage in the Roy sagas.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Kito Jempere - "A King Of Comets" (feat New Composers & Lovvlovver)
2
Kito Jempere - "Sikao Qi Yun" (feat Jimi Tenor, Minako Sasjima & Lovvlovver)
3
Kito Jempere - "Sergio Leone" (feat Lovvlovver, Gadzhi, Roman Englisgh & Juravlove)
4
Kito Jempere - "Talking In My Dreams" (feat Wolfram & Lovvlovver)
5
Kito Jempere - "Untitled Ritual" (feat Noteless)
6
Kito Jempere - "Time Traveller"
7
Kito Jempere - "Your Ghost In Me" (feat Hard Ton, Noteless & Ruf Dug)
8
Kito Jempere - "After The Storm" (feat Maajo)
9
Kito Jempere - "Why You Guys Broke?" (feat Rich Thair)
10
Kito Jempere - "A Mirage Seen At Buffalo" (feat Gadzhi, Lovvlovver, Lipelis, Roman English, Not
11
Kito Jempere - "Et Que Je Dorme" (feat Miriam Sehhon & Lovvlovver)
12
Kito Jempere - "Every Minute Is Too Late"
The acclaimed Kito Jempere joins Cherrystones and DJN4 on the label for 2020, with an album full of international minds. Working with array of collaborators across a cast of friends including Jimi Tenor, Wolfram, Hard Ton, Lipelis, Rich Thair (Red Snapper), Ruf Dug, Cedric Gasaida (Azari & III) and many more, presenting this, his third long play.
A hail of freedom of thoughts and voices before these changed times, recorded and shared across continents. Kito - following releases with DFA, Lo Recordings, Bordello A Parigi, Hell Yeah and Duca Bianco - acts as curator rather than conductor, the idea not to transform the contributions but allow them absolute.
Sending music and receiving back, nothing was touched to keep the truth and honour. From Tokyo to London, Berlin to his base in St Petersburg, trusting the chosen artists led to a broad palette, as his 4/4 driven funk expands with Jazz horns to Motorik percussion, Avant-Reich vocals to White Isle melodies, J Pop Balearics to Chanson stories wrapped around Club memories.
A true world meeting, crossing borders and genres. An eye on the dance floor and week long chill outs. With remixes from the likes of Samo DJ, Lipelis, Cable Toy and more to follow, this is more than Yet Another Kito Jempere Album.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
A hail of freedom of thoughts and voices before these changed times, recorded and shared across continents. Kito - following releases with DFA, Lo Recordings, Bordello A Parigi, Hell Yeah and Duca Bianco - acts as curator rather than conductor, the idea not to transform the contributions but allow them absolute.
Sending music and receiving back, nothing was touched to keep the truth and honour. From Tokyo to London, Berlin to his base in St Petersburg, trusting the chosen artists led to a broad palette, as his 4/4 driven funk expands with Jazz horns to Motorik percussion, Avant-Reich vocals to White Isle melodies, J Pop Balearics to Chanson stories wrapped around Club memories.
A true world meeting, crossing borders and genres. An eye on the dance floor and week long chill outs. With remixes from the likes of Samo DJ, Lipelis, Cable Toy and more to follow, this is more than Yet Another Kito Jempere Album.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Emotional Response
Cat-No:ers019
Release-Date:14.02.2019
Genre:Electronic, Electronica
Configuration:2LP
Label:Emotional Response
Cat-No:ers019
Release-Date:14.02.2019
Genre:Electronic, Electronica
Configuration:2LP
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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The Unofficial Edits & Overdubs by Joaquin Joe Claussell
Finally comes the first of a two-part forthcoming EP's, Extended Versions taken from the highly successful Joe Claussell Afro Edits & Overdubs Series previously released on LP and CD.
Influence of hallucinations induced by chewing roots from the iboga plant on the works of Joaquin Joe Claussell's Edits & Overdubs IBOGA Compilation. The iboga plant is indigenous to the humid, tropical climates of West Central Africa, including Gabon, Cameroon, Congo, and Angola, which are home to the 2nd largest rainforest in the world. It has been used for centuries in spiritual initiation ceremonies and practices, particularly by the Bwiti tradition and religion in Gabon.
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Tested for months on dance floors across the globe every on this complication are sure to continue setting dance floors on fire where ever spun.
Extended Versions Cuts Taken Limited Vinyl EP featuring selected cuts from the compilation. Listen loudly and enjoy the experience!
Thank You for Listening
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
The Unofficial Edits & Overdubs by Joaquin Joe Claussell
Finally comes the first of a two-part forthcoming EP's, Extended Versions taken from the highly successful Joe Claussell Afro Edits & Overdubs Series previously released on LP and CD.
Influence of hallucinations induced by chewing roots from the iboga plant on the works of Joaquin Joe Claussell's Edits & Overdubs IBOGA Compilation. The iboga plant is indigenous to the humid, tropical climates of West Central Africa, including Gabon, Cameroon, Congo, and Angola, which are home to the 2nd largest rainforest in the world. It has been used for centuries in spiritual initiation ceremonies and practices, particularly by the Bwiti tradition and religion in Gabon.
Joaquin Joe Claussell was inspired by these influences and went into the studio to create a compilation of edits and overdubs of African vibrational sounds and rhythms. The result is a collection of nine compositions that showcase the future possibilities of this influential work.
Tested for months on dance floors across the globe every on this complication are sure to continue setting dance floors on fire where ever spun.
Extended Versions Cuts Taken Limited Vinyl EP featuring selected cuts from the compilation. Listen loudly and enjoy the experience!
Thank You for Listening
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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Stimulator Jones - Pharoah Jones
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Stimulator Jones - Ghost Gospel
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Stimulator Jones - Ill Feeling
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Stimulator Jones - Do Not Adjust
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Stimulator Jones - Chill Scratch
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Stimulator Jones - Welcome Aboard The Starship
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Stimulator Jones - Keep On Runnin
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Stimulator Jones - Sounds Impossible
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Stimulator Jones - Painted Faces
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Stimulator Jones - The Knew Style
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Stimulator Jones - Chicken Wing Blues Sauce
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Stimulator Jones - Kool Breeze
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Stimulator Jones - Sexx Bullets
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Stimulator Jones - Soul Child
18
Stimulator Jones - Take Off Runnin
19
Stimulator Jones - Centurian
20
Stimulator Jones - Bozack
21
Stimulator Jones - Church
22
Stimulator Jones - Splash One
23
Stimulator Jones - Hank
24
Stimulator Jones - 73 Goatee
Territories: Worldwide no restrictions
Format Notes: First ever vinyl release of Stimulator Jones's formative early boom-bap beat experimentations, 140g vinyl.
Track List:
A1 Pharoah Jones
A2 Ghost Gospel
A3 Ill Feeling
A4 Capital Punishment
A5 Do Not Adjust
A6 Cool Green Trees
A7 Chill Scratch
A8 Poisonous Fumes
A9 Welcome Aboard The Starship
B1 Keep On Runnin
B2 Sounds Impossible
B3 Painted Faces
B4 The Knew Style
B5 Chicken Wing Blues Sauce
B6 Kool Breeze
B7 Sexx Bullets
B8 Soul Child
B9 Take Off Runnin
B10 Centurian
B11 Bozack
B12 Church
B13 Splash One
B14 Hank
B15 73 Goatee
"Chasing the funky symphonies that filled my head and my dreams..."
December 25th, 2023 - an Instagram post. Stimulator Jones shared half a dozen FIRE tracks from his beat tape archive. We were immediately drawn to the rough hewn boom bap.
"I'd release that", Rob commented.
Hours of material was shared and the result is this: Cool Green Trees (1999-2005). A collection of beats and loops Stimulator Jones created between the ages of 14-20 at home in his basement, bedroom and computer room in Roanoke, Virginia.
You will not believe the profound soulful genius contained within these naive schoolboy melodies.
December 25th, 1998 - 25 years ago to the day and his much-coveted Yamaha SU10 sampler was finally bestowed upon young Stimmy AKA Sam Lunsford: "I immediately hooked up a CD Walkman to the input jack and looped the beginning two bars of Grover Washington Jr.'s "Mercy Mercy Me". I don't know what exactly was so thrilling about hearing two measures of music repeating over and over but it was so infectious and hypnotizing and enthralling to me. I'll never forget that ecstatic rush of making my first loop - an uncontrollable, gleeful smile plastered all over my face." When you hear the pocket breakbeat symphonies featured here on Cool Green Trees, you'll feel the same sense of frisson.
In the wake of his Stones Throw breakthrough - Exotic Worlds & Master Treasures - Stimulator Jones was pegged by many as a 90s throwback artist. However, he literally IS a 90s artist. He's been recording music most of his life and he's now 40. He created the bulk of Cool Green Trees as a teenager. Everything before 2004 was recorded when Sam was still in school. He was in 8th grade when he made the 1999 tracks - he didn't even have his learner's permit. This album is a snapshot of a young man in a simpler time. Things were still mysterious back then and he was flying blind, relying on his ears and having to figure things out for himself: "I had no road map for becoming a beatmaker. I have been collecting music since I was a kid, I am a lifelong digger and seeker of cool and interesting sounds. I was there in the golden age of Hip Hop, and while I may have been a suburban white kid in Roanoke, Virginia, I was tuned in and I bought so many classic albums when they came out. I was attracted to Hip Hop because of the musical and poetic quality. I was hypnotized by the rhythms, partially because I was a drummer. I didn't brag about collecting my breakbeat records or making beats - it was something I did in isolation. It wasn't something I generally wanted to bring attention to and it didn't really score me any cool points. I certainly wasn't flexing on social media about it."
Hell, he can do that now!
Opener "Pharoah Jones" was inspired by Yesterday's New Quintet and Madlib's ability to capture that classic 70s sound whilst playing all the instruments. Sam created this one stoned afternoon by laying down a 2 bar loop and a shaker loop on his Yamaha SU700 sampler. He hung a microphone from the ceiling and played his Yamaha Stage Custom drum kit over the top before adding ender Rhodes and playing his dad's Selmer tenor sax through an Electro Harmonix Memory Man echo pedal. Yes! Up next, "Ghost Gospel" utilises a dope loop from a gospel record and adds some soul-funk drums overtop, whilst working that filter knob. Says Sam: "The loop reminded me of something Ghostface would rap over. The sample was in 3/4 waltz time but I flipped it for a 4/4 groove, a technique I picked up from RZA. "Ill Feeling" uses sped-up pieces from a dusty old funk record and putting them over a classic NOLA drum loop; gain chopping up a slow, bluesy 3/4 time signature and bending it to a 4/4 groove. Classy shit. "Capital Punishment" features drums tapped in live, inspired by MF Doom's Special Herbs series. "Do Not Adjust" consists loops found on a compilation of 70s French music at Happy's Flea Market, a classic Roanoke digging spot.
The sublime, evocative title track, "Cool Green Trees" was created when Sam was still living at home. He dumped samples off his SU10 into the family desktop and arranged them in a demo version of Pro Tools: "This track was sort of my ode to the DJ Shadow style of sample based production. Super spacey, slow, and moody. The heavily filtered drums were inspired by Alec Empire's 'Low on Ice' album. I later added some scratches and sounds from a Spider Man storybook record." "Chill Scratch" snags the final bit of a bossanova record and pairs it with a drum loop before adding experimental scratching run through an Electro Harmonix Memory Man echo pedal. "Poisonous Fumes" was made using a sampler, mixer and a turntable; a kind of mixtape beat collage with added scratches and sounds from various records. Using dialogue from superhero records was a nod to Madlib. "Welcome Aboard The Starship" is dark, downtempo trip-hop with a spooky bent. Sam paired a slow, hard drum loop with a guitar sample grabbed off a psychedelic rock record. To finish, he added various backwards sounds and weird atmospheric effects and a little scratching. Swoon.
Side B opens with "Keep On Runnin", made on a borrowed Roland SP202 sampler. Having always loved the sound of the Lo-Fi filter on those machines, reminiscent of the Emu SP1200, Sam always imagined Del or another of the Hieroglyphics crew rapping over this beat. You can certainly hear why. "Sounds Impossible" sees Sam experimenting with layering multiple kick samples at different volumes to create patterns similar to those heard by Showbiz and Lord Finesse during their God-level 1995 period. "Painted Faces" was made by chopping up a [REDACTED] record which he had gotten from Happy's Flea Market and paired it with a [REDACTED] drum loop. By the time Sam recorded "The Knew Style", he had acquired a shitty old 1960s portable turntable off eBay. It didn't function properly when he bought it but his brother opened it up, cleaned it out and got it working: "I remember he told me that there was a bunch of sand inside of it when he opened it up, as if its previous owner had taken it to the beach. I would take that turntable on my Happy's Flea Market digs so I could preview records...that's how I found this loop."
"Chicken Wing Blues Sauce" loops up a classic blues joint and pairs it with some [REDACTED] drums. A bit of filtering and arranging et voilà! "Kool Breeze", from 1999, is one of Sam's oldest surviving beats, as is "Sexx Bullets". The Roots sampled the same record, leaving Sam frustrated yet vindicated. "Soul Child" was an early SU10 creation, looping a dusty old Soul Children 45 and pairing it with 70s rock drum loops to great effect. "Take Off Runnin" was another loop found digging with a portable turntable. Paired with some boom bap drums it makes for a hypnotic head-nod groove. "Centurian" was intended to be a little beat interlude a la Pete Rock. The sample is from a sun-dappled soft-psych record and it's paired with a Robin Trower drum loop that just happens to fit perfectly. Sometimes you slap things together kind of haphazardly and magic happens. "Bozack" was the first beat Sam made using Pro Tools, his first foray into using chopped sounds instead of loops, an exciting new world. "Church" is beat interlude using a Phil Upchurch loop with the "Long Red" drums - a favourite break of Dilla et al. Sam was really on a tear in late 2004, probably because he was unemployed and phoneless and able to just make beats all day. He made "Splash One" on a borrowed Yamaha SU700 and again was experimenting with tapping the drums in live with his fingers, instead of using a loop or sequenced pattern. Channeling 9th Wonder, Sam used a water splash sound effect from a Batman record as a percussive element, hence the title (also a 13th Floor Elevators reference). The main loop is a backwards portion of one of his favourite Roy Ayers songs.
"Hank" is another fun little beat interlude thing, created on a borrowed Roland SP202 sampler with the fantastic Lo-Fi effect that resembled the Emu SP1200 at a fraction of the price. "73 goatee", from 99, is another of his oldest surviving beats, created in his bedroom with his Yamaha SU10 and his brother's Vestax MR-300 4-track recorder: "This one will always feel special. I can remember having a feeling all the way back then on the night that I created it that this was a solid beat with a catchy loop. There was something in the Fender Rhodes melody that resonated with me emotionally, and I had never heard a producer sample that portion before. I felt like I had found my own unique sound, my own unique loop. It came from an Ahmad Jamal '73. I actually even recorded myself rapping and scratching over this beat way back then, I still have that version in all its imperfect sloppy glory."
Sam explains just how much these tracks mean to him: "They all have immense historical and sentimental value and I'm proud of them. These beats come from an innocent, simple time when I was just figuring out how to craft these sounds. They're something very personal to me. They are the initial part of a journey that I really was taking *alone*. There was no YouTube. I couldn't Google shit. I didn't even know any other beatmakers, producers or DJs in my town that could teach me anything. It was always just me, alone, in a room with some equipment - chasing the funky symphonies that filled my head and my dreams. What I was doing wasn't cool. Most of my peers thought I was a weirdo and couldn't care less. Creating these sounds was an anti-social endeavour. In a sense, I felt like it was me against the world, and all I had to instruct and assist me were the recordings produced by my heroes - RZA, DJ Premier, Erick Sermon, Beatminerz, Showbiz, Diamond D, Beatnuts, Prince Paul, The Bomb Squad, Pete Rock, Q-Tip, E-Swift, Mista Lawnge, DJ Shadow, Cut Chemist, Peanut Butter Wolf, El-P and so many more...I dedicate this collection to them, and to my older brother Joe who has always been a musical and technical guiding light for me.
This was a time before every kid was a self-described producer and beatmaker, before everyone had a DAW, before Kanye and "chipmunk soul", before Red Bull beat battles, before there was any social media beyond chat rooms and AOL Instant Messenger, before Soundcloud, before SP-404 mania, before lo-fi beats to study to, before Splice, before targeted ads for MIDI chord packs, etc. In 99 when I told people that I had a sampler and made beats I was mostly met with bewildered confusion and indifference. Kids and adults alike would wonder why I got this weird machine for Christmas instead of something worthwhile like a Playstation or a mountain bike or even a guitar for that matter because at least that could be used to make "real music". Back then, sampling was still not widely respected as an art form - it was seen as lazy, talentless and unoriginal at best and outright criminal theft at worst. I had gotten respect for playing drums and guitar and things of that nature but this was a step in the wrong direction in the eyes of many."
The cover photo is a picture of Sam standing on his back porch in the latter part of 1998, just before he got his first sampler. He was 13 years old, in 8th grade. His dad took the picture with his 35mm film camera: "I actually wanted to be pointing my dad's .22 pistol at the camera lens but he wouldn't let me. He gave me an old walking cane to use instead. The Tommy Hilfiger puffer jacket came from the lost and found at William Fleming High School where my mom worked as a secretary. I was thrilled when she brought it home because we never spent money on expensive name brand clothing like that - we were for the most part strictly a sale rack, bargain bin, thrift store, yard sale, flea market kind of family when it came to clothes. My watch is some cheap off-brand fake gold department store watch." Mastering for this vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Format Notes: First ever vinyl release of Stimulator Jones's formative early boom-bap beat experimentations, 140g vinyl.
Track List:
A1 Pharoah Jones
A2 Ghost Gospel
A3 Ill Feeling
A4 Capital Punishment
A5 Do Not Adjust
A6 Cool Green Trees
A7 Chill Scratch
A8 Poisonous Fumes
A9 Welcome Aboard The Starship
B1 Keep On Runnin
B2 Sounds Impossible
B3 Painted Faces
B4 The Knew Style
B5 Chicken Wing Blues Sauce
B6 Kool Breeze
B7 Sexx Bullets
B8 Soul Child
B9 Take Off Runnin
B10 Centurian
B11 Bozack
B12 Church
B13 Splash One
B14 Hank
B15 73 Goatee
"Chasing the funky symphonies that filled my head and my dreams..."
December 25th, 2023 - an Instagram post. Stimulator Jones shared half a dozen FIRE tracks from his beat tape archive. We were immediately drawn to the rough hewn boom bap.
"I'd release that", Rob commented.
Hours of material was shared and the result is this: Cool Green Trees (1999-2005). A collection of beats and loops Stimulator Jones created between the ages of 14-20 at home in his basement, bedroom and computer room in Roanoke, Virginia.
You will not believe the profound soulful genius contained within these naive schoolboy melodies.
December 25th, 1998 - 25 years ago to the day and his much-coveted Yamaha SU10 sampler was finally bestowed upon young Stimmy AKA Sam Lunsford: "I immediately hooked up a CD Walkman to the input jack and looped the beginning two bars of Grover Washington Jr.'s "Mercy Mercy Me". I don't know what exactly was so thrilling about hearing two measures of music repeating over and over but it was so infectious and hypnotizing and enthralling to me. I'll never forget that ecstatic rush of making my first loop - an uncontrollable, gleeful smile plastered all over my face." When you hear the pocket breakbeat symphonies featured here on Cool Green Trees, you'll feel the same sense of frisson.
In the wake of his Stones Throw breakthrough - Exotic Worlds & Master Treasures - Stimulator Jones was pegged by many as a 90s throwback artist. However, he literally IS a 90s artist. He's been recording music most of his life and he's now 40. He created the bulk of Cool Green Trees as a teenager. Everything before 2004 was recorded when Sam was still in school. He was in 8th grade when he made the 1999 tracks - he didn't even have his learner's permit. This album is a snapshot of a young man in a simpler time. Things were still mysterious back then and he was flying blind, relying on his ears and having to figure things out for himself: "I had no road map for becoming a beatmaker. I have been collecting music since I was a kid, I am a lifelong digger and seeker of cool and interesting sounds. I was there in the golden age of Hip Hop, and while I may have been a suburban white kid in Roanoke, Virginia, I was tuned in and I bought so many classic albums when they came out. I was attracted to Hip Hop because of the musical and poetic quality. I was hypnotized by the rhythms, partially because I was a drummer. I didn't brag about collecting my breakbeat records or making beats - it was something I did in isolation. It wasn't something I generally wanted to bring attention to and it didn't really score me any cool points. I certainly wasn't flexing on social media about it."
Hell, he can do that now!
Opener "Pharoah Jones" was inspired by Yesterday's New Quintet and Madlib's ability to capture that classic 70s sound whilst playing all the instruments. Sam created this one stoned afternoon by laying down a 2 bar loop and a shaker loop on his Yamaha SU700 sampler. He hung a microphone from the ceiling and played his Yamaha Stage Custom drum kit over the top before adding ender Rhodes and playing his dad's Selmer tenor sax through an Electro Harmonix Memory Man echo pedal. Yes! Up next, "Ghost Gospel" utilises a dope loop from a gospel record and adds some soul-funk drums overtop, whilst working that filter knob. Says Sam: "The loop reminded me of something Ghostface would rap over. The sample was in 3/4 waltz time but I flipped it for a 4/4 groove, a technique I picked up from RZA. "Ill Feeling" uses sped-up pieces from a dusty old funk record and putting them over a classic NOLA drum loop; gain chopping up a slow, bluesy 3/4 time signature and bending it to a 4/4 groove. Classy shit. "Capital Punishment" features drums tapped in live, inspired by MF Doom's Special Herbs series. "Do Not Adjust" consists loops found on a compilation of 70s French music at Happy's Flea Market, a classic Roanoke digging spot.
The sublime, evocative title track, "Cool Green Trees" was created when Sam was still living at home. He dumped samples off his SU10 into the family desktop and arranged them in a demo version of Pro Tools: "This track was sort of my ode to the DJ Shadow style of sample based production. Super spacey, slow, and moody. The heavily filtered drums were inspired by Alec Empire's 'Low on Ice' album. I later added some scratches and sounds from a Spider Man storybook record." "Chill Scratch" snags the final bit of a bossanova record and pairs it with a drum loop before adding experimental scratching run through an Electro Harmonix Memory Man echo pedal. "Poisonous Fumes" was made using a sampler, mixer and a turntable; a kind of mixtape beat collage with added scratches and sounds from various records. Using dialogue from superhero records was a nod to Madlib. "Welcome Aboard The Starship" is dark, downtempo trip-hop with a spooky bent. Sam paired a slow, hard drum loop with a guitar sample grabbed off a psychedelic rock record. To finish, he added various backwards sounds and weird atmospheric effects and a little scratching. Swoon.
Side B opens with "Keep On Runnin", made on a borrowed Roland SP202 sampler. Having always loved the sound of the Lo-Fi filter on those machines, reminiscent of the Emu SP1200, Sam always imagined Del or another of the Hieroglyphics crew rapping over this beat. You can certainly hear why. "Sounds Impossible" sees Sam experimenting with layering multiple kick samples at different volumes to create patterns similar to those heard by Showbiz and Lord Finesse during their God-level 1995 period. "Painted Faces" was made by chopping up a [REDACTED] record which he had gotten from Happy's Flea Market and paired it with a [REDACTED] drum loop. By the time Sam recorded "The Knew Style", he had acquired a shitty old 1960s portable turntable off eBay. It didn't function properly when he bought it but his brother opened it up, cleaned it out and got it working: "I remember he told me that there was a bunch of sand inside of it when he opened it up, as if its previous owner had taken it to the beach. I would take that turntable on my Happy's Flea Market digs so I could preview records...that's how I found this loop."
"Chicken Wing Blues Sauce" loops up a classic blues joint and pairs it with some [REDACTED] drums. A bit of filtering and arranging et voilà! "Kool Breeze", from 1999, is one of Sam's oldest surviving beats, as is "Sexx Bullets". The Roots sampled the same record, leaving Sam frustrated yet vindicated. "Soul Child" was an early SU10 creation, looping a dusty old Soul Children 45 and pairing it with 70s rock drum loops to great effect. "Take Off Runnin" was another loop found digging with a portable turntable. Paired with some boom bap drums it makes for a hypnotic head-nod groove. "Centurian" was intended to be a little beat interlude a la Pete Rock. The sample is from a sun-dappled soft-psych record and it's paired with a Robin Trower drum loop that just happens to fit perfectly. Sometimes you slap things together kind of haphazardly and magic happens. "Bozack" was the first beat Sam made using Pro Tools, his first foray into using chopped sounds instead of loops, an exciting new world. "Church" is beat interlude using a Phil Upchurch loop with the "Long Red" drums - a favourite break of Dilla et al. Sam was really on a tear in late 2004, probably because he was unemployed and phoneless and able to just make beats all day. He made "Splash One" on a borrowed Yamaha SU700 and again was experimenting with tapping the drums in live with his fingers, instead of using a loop or sequenced pattern. Channeling 9th Wonder, Sam used a water splash sound effect from a Batman record as a percussive element, hence the title (also a 13th Floor Elevators reference). The main loop is a backwards portion of one of his favourite Roy Ayers songs.
"Hank" is another fun little beat interlude thing, created on a borrowed Roland SP202 sampler with the fantastic Lo-Fi effect that resembled the Emu SP1200 at a fraction of the price. "73 goatee", from 99, is another of his oldest surviving beats, created in his bedroom with his Yamaha SU10 and his brother's Vestax MR-300 4-track recorder: "This one will always feel special. I can remember having a feeling all the way back then on the night that I created it that this was a solid beat with a catchy loop. There was something in the Fender Rhodes melody that resonated with me emotionally, and I had never heard a producer sample that portion before. I felt like I had found my own unique sound, my own unique loop. It came from an Ahmad Jamal '73. I actually even recorded myself rapping and scratching over this beat way back then, I still have that version in all its imperfect sloppy glory."
Sam explains just how much these tracks mean to him: "They all have immense historical and sentimental value and I'm proud of them. These beats come from an innocent, simple time when I was just figuring out how to craft these sounds. They're something very personal to me. They are the initial part of a journey that I really was taking *alone*. There was no YouTube. I couldn't Google shit. I didn't even know any other beatmakers, producers or DJs in my town that could teach me anything. It was always just me, alone, in a room with some equipment - chasing the funky symphonies that filled my head and my dreams. What I was doing wasn't cool. Most of my peers thought I was a weirdo and couldn't care less. Creating these sounds was an anti-social endeavour. In a sense, I felt like it was me against the world, and all I had to instruct and assist me were the recordings produced by my heroes - RZA, DJ Premier, Erick Sermon, Beatminerz, Showbiz, Diamond D, Beatnuts, Prince Paul, The Bomb Squad, Pete Rock, Q-Tip, E-Swift, Mista Lawnge, DJ Shadow, Cut Chemist, Peanut Butter Wolf, El-P and so many more...I dedicate this collection to them, and to my older brother Joe who has always been a musical and technical guiding light for me.
This was a time before every kid was a self-described producer and beatmaker, before everyone had a DAW, before Kanye and "chipmunk soul", before Red Bull beat battles, before there was any social media beyond chat rooms and AOL Instant Messenger, before Soundcloud, before SP-404 mania, before lo-fi beats to study to, before Splice, before targeted ads for MIDI chord packs, etc. In 99 when I told people that I had a sampler and made beats I was mostly met with bewildered confusion and indifference. Kids and adults alike would wonder why I got this weird machine for Christmas instead of something worthwhile like a Playstation or a mountain bike or even a guitar for that matter because at least that could be used to make "real music". Back then, sampling was still not widely respected as an art form - it was seen as lazy, talentless and unoriginal at best and outright criminal theft at worst. I had gotten respect for playing drums and guitar and things of that nature but this was a step in the wrong direction in the eyes of many."
The cover photo is a picture of Sam standing on his back porch in the latter part of 1998, just before he got his first sampler. He was 13 years old, in 8th grade. His dad took the picture with his 35mm film camera: "I actually wanted to be pointing my dad's .22 pistol at the camera lens but he wouldn't let me. He gave me an old walking cane to use instead. The Tommy Hilfiger puffer jacket came from the lost and found at William Fleming High School where my mom worked as a secretary. I was thrilled when she brought it home because we never spent money on expensive name brand clothing like that - we were for the most part strictly a sale rack, bargain bin, thrift store, yard sale, flea market kind of family when it came to clothes. My watch is some cheap off-brand fake gold department store watch." Mastering for this vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Luca Lozano & DJ Steve - Closed Circuit 05:48
2
Luca Lozano & DJ Steve - Closed Circuit - Roman Flügel Remix 06:04
3
Luca Lozano & DJ Steve - Time 06:31
4
Luca Lozano & DJ Steve - Love/Hate 06:20
Tracklist:
A1. Closed Circuit 05:48
A2. Closed Circuit - Roman Flügel Remix 06:04
B1. Time 06:31
B2. Love/Hate 06:20
Once upon a car park.
In the mid-90s, DJ Steve and Luca Lozano bonded over Mobb Deep, Droors, and the finer points of frontside flips. Soundtracked by skate videos and boombox freestyles, those formative years were more about asphalt than machines.
Time moved on. Steve found his way to stages from Sheffield to Sonar as half of an electro duo; Luca chased underground frequencies from London to Berlin. Life zigzagged. Contact faded.
Fast forward a couple of decades and a random reconnection just before lockdown sparked version 2.0 of their friendship—and a new chapter of collaboration. What started as nostalgia turned into studio marathons and shared sonic visions. The result: Closed Circuit.
This is the sound of two old friends channeling 20-year loops—where electro meets B-boy attitude, house nods to early Warp, and vocoders clash with vintage drum machines. Think sun-bleached jeans, fuzzed-out tape hiss, and that pre-internet rush of discovery.
To top it off, Running Back’s own Roman Flügel contributes a sharp remix flip, and the sleeve features archival photos taken by Lozano during his early London days (2002–2005)—moments frozen in grain and sweat from some of the city’s first DIY parties.
Friendship. Frequencies. Full circle.
Closed Circuit.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
A1. Closed Circuit 05:48
A2. Closed Circuit - Roman Flügel Remix 06:04
B1. Time 06:31
B2. Love/Hate 06:20
Once upon a car park.
In the mid-90s, DJ Steve and Luca Lozano bonded over Mobb Deep, Droors, and the finer points of frontside flips. Soundtracked by skate videos and boombox freestyles, those formative years were more about asphalt than machines.
Time moved on. Steve found his way to stages from Sheffield to Sonar as half of an electro duo; Luca chased underground frequencies from London to Berlin. Life zigzagged. Contact faded.
Fast forward a couple of decades and a random reconnection just before lockdown sparked version 2.0 of their friendship—and a new chapter of collaboration. What started as nostalgia turned into studio marathons and shared sonic visions. The result: Closed Circuit.
This is the sound of two old friends channeling 20-year loops—where electro meets B-boy attitude, house nods to early Warp, and vocoders clash with vintage drum machines. Think sun-bleached jeans, fuzzed-out tape hiss, and that pre-internet rush of discovery.
To top it off, Running Back’s own Roman Flügel contributes a sharp remix flip, and the sleeve features archival photos taken by Lozano during his early London days (2002–2005)—moments frozen in grain and sweat from some of the city’s first DIY parties.
Friendship. Frequencies. Full circle.
Closed Circuit.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Jazz N Palms - Hypntzd
2
Jazz N Palms - World
Back at it — Soul N Palms droppin' fresh soulful re-edits for the real ones who know the vibe. Built for late-night sessions, block party vibes, and crate-diggin’ heads alike.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
St. Germain - Rose Rouge
2
St. Germain - Rose Rouge (Jorja Smith Cover) (Joy Orbision Remix)
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Joaquin Joe Claussell - Abuja Rough
2
Joaquin Joe Claussell - Summer Africa
3
Joaquin Joe Claussell - People
4
Joaquin Joe Claussell - Afrikan Basement
12" GREEN Color Vinyl / With Black Solid Jacket and Large Sticker
The Unofficial Edits & Overdubs by Joaquin Joe Claussell
Finally comes the first of a two-part forthcoming EP's, Extended Versions taken from the highly successful Joe Claussell Afro Edits & Overdubs Series previously released on LP and CD.
Influence of hallucinations induced by chewing roots from the iboga plant on the works of Joaquin Joe Claussell's Edits & Overdubs IBOGA Compilation. The iboga plant is indigenous to the humid, tropical climates of West Central Africa, including Gabon, Cameroon, Congo, and Angola, which are home to the 2nd largest rainforest in the world. It has been used for centuries in spiritual initiation ceremonies and practices, particularly by the Bwiti tradition and religion in Gabon.
Joaquin Joe Claussell was inspired by these influences and went into the studio to create a compilation of edits and overdubs of African vibrational sounds and rhythms. The result is a collection of nine compositions that showcase the future possibilities of this influential work.
Tested for months on dance floors across the globe every on this complication are sure to continue setting dance floors on fire where ever spun.
Extended Versions Cuts Taken Limited Vinyl EP featuring selected cuts from the compilation. Listen loudly and enjoy the experience!
Thank You for Listening
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
The Unofficial Edits & Overdubs by Joaquin Joe Claussell
Finally comes the first of a two-part forthcoming EP's, Extended Versions taken from the highly successful Joe Claussell Afro Edits & Overdubs Series previously released on LP and CD.
Influence of hallucinations induced by chewing roots from the iboga plant on the works of Joaquin Joe Claussell's Edits & Overdubs IBOGA Compilation. The iboga plant is indigenous to the humid, tropical climates of West Central Africa, including Gabon, Cameroon, Congo, and Angola, which are home to the 2nd largest rainforest in the world. It has been used for centuries in spiritual initiation ceremonies and practices, particularly by the Bwiti tradition and religion in Gabon.
Joaquin Joe Claussell was inspired by these influences and went into the studio to create a compilation of edits and overdubs of African vibrational sounds and rhythms. The result is a collection of nine compositions that showcase the future possibilities of this influential work.
Tested for months on dance floors across the globe every on this complication are sure to continue setting dance floors on fire where ever spun.
Extended Versions Cuts Taken Limited Vinyl EP featuring selected cuts from the compilation. Listen loudly and enjoy the experience!
Thank You for Listening
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1
Mike Sacchetti - Something Spatial
2
Mike Sacchetti - Pronto!
3
Mike Sacchetti - Exalt Redux
4
Mike Sacchetti - Boogie for Her
NO Return!
Limited to 600 Pieces, Vinyl Only, Mastered by DJ Steaw, Made in Europe.
A1: Something Spatial
A2: Pronto!
B1: Exalt Redux
B2: Boogie for Her
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Limited to 600 Pieces, Vinyl Only, Mastered by DJ Steaw, Made in Europe.
A1: Something Spatial
A2: Pronto!
B1: Exalt Redux
B2: Boogie for Her
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1
Q Lazzarus - Goodbye Horses (Extended Mix)
2
Q Lazzarus - Goodbye Horses (Instrumental)
3
Q Lazzarus - Hellfire
4
Q Lazzarus - Summertime
5
Q Lazzarus - Goodbye Horses (Acapella)
At long last, Q Lazzarus says hello to Dark Entries. Q Lazzarus is the moniker of Diane Luckey, born in New Jersey in 1960. While living in the East Village in New York City in the 1980s, Diane met songwriter Bill Garvey at a party and they recorded “Goodbye Horses” in his home studio. As the story goes, Luckey met Hollywood director Jonathan Demme when she picked him up in her taxi during a snowstorm in 1986. Demme was wowed by her demo tape, which was playing in the cab, and they ended up hanging out at a restaurant for hours talking about life and music. “He liked it so much, I gave him the tape I was listening to, he said he would call me for one of his movies, but I didn’t really take it seriously.” said Luckey. Demme would have the song “Goodbye Horses” first appear in his offbeat comedy Married to the Mob, and then again more memorably in Silence of the Lambs when Buffalo Bill changes into women’s clothing while drowning out his intended victim’s pleas with loud music. Despite the exposure, both Luckey and Garvey languished in relative obscurity. “Goodbye Horses” is the definition of a cult classic, an ethereal tearjerker driven by Garvey’s lush synth work and Luckey’s unmistakably powerful voice. Garvey says, “the song is about transcendence over those who see the world as only earthly and finite.”
Over 15 years of effort have gone into the making of this release. All five songs on this record were previously unreleased and are sourced from original master tapes. The extended version of “Goodbye Horses” was newly mixed from the original stems by Alberto Hernandez at Fantasy Studios. Instrumental and acapella versions of the song are included, which are also available for the first time. Side B opens with “Hellfire,” a brooding number about the New York BDSM nightclub of the same name, showcasing the range and force of Luckey’s voice. “Summertime” follows, with a sauntering synth-reggae spin on the 1937 George Gershwin number. Both B-side tracks are also new mixdowns and edits from the original stems. This record is released alongside Eva Aridjis Fuentes’s documentary on Q Lazzarus, Goodbye Horses: The Many Lives of Q Lazzarus, a work chronicling the life of the enigmatic Luckey. It is an opportune moment to reflect on the underrecognized artists we have lost and the undeniable brilliance of both Diane Luckey and William Garvey.
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Over 15 years of effort have gone into the making of this release. All five songs on this record were previously unreleased and are sourced from original master tapes. The extended version of “Goodbye Horses” was newly mixed from the original stems by Alberto Hernandez at Fantasy Studios. Instrumental and acapella versions of the song are included, which are also available for the first time. Side B opens with “Hellfire,” a brooding number about the New York BDSM nightclub of the same name, showcasing the range and force of Luckey’s voice. “Summertime” follows, with a sauntering synth-reggae spin on the 1937 George Gershwin number. Both B-side tracks are also new mixdowns and edits from the original stems. This record is released alongside Eva Aridjis Fuentes’s documentary on Q Lazzarus, Goodbye Horses: The Many Lives of Q Lazzarus, a work chronicling the life of the enigmatic Luckey. It is an opportune moment to reflect on the underrecognized artists we have lost and the undeniable brilliance of both Diane Luckey and William Garvey.
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Germany
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1
Ulrich Gumpert Quartett - Der Läufer Auf Dem Dach
2
Ulrich Gumpert Quartett - Karo Einfach
3
Ulrich Gumpert Quartett - Drittens
4
Ulrich Gumpert Quartett - Rot Und Grün
5
Ulrich Gumpert Quartett - So Einfach Ist Das
6
Ulrich Gumpert Quartett - Hallo Ulli
7
Ulrich Gumpert Quartett - High Heel Sneakers
8
Ulrich Gumpert Quartett - Gedanken
No Return!
Genre: Jazz, Rock, Funk, Psychedelic, Beat, Cinematic
This album is probably one of the most outstanding jazz discoveries of this year and highlights the significance of earlyJjazz-Rock recordings from East Germany in the late 60s to the early 1970s.
The highly talented organist Ulrich Gumpert, along with top musicians like drummer Günter "Baby" Sommer, bassist Gert Lübke, and guitarist Günter Dobrowolsky, formed a powerful independent quartet as well the rhythm section within the Klaus Lenz Orchestra and later of the group SOK. Their modern, soulful, and funky Jazz-Rock compositions gained popularity and were even promoted by the
East Berlin youth radio. Guest artists like the famous Günther Fischer contributed to their first recordings. This retrospective LP celebrates a groundbreaking yet underappreciated era in East German Jazz and Rock history.
TRACKLISTS:
A1 Der Läufer Auf Dem Dach
A2 Karo Einfach
A3 Drittens
A4 Rot Und Grün
A5 So Einfach Ist Das
B1 Hallo Ulli
B2 High Heel Sneakers
B3 Gedanken
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Genre: Jazz, Rock, Funk, Psychedelic, Beat, Cinematic
This album is probably one of the most outstanding jazz discoveries of this year and highlights the significance of earlyJjazz-Rock recordings from East Germany in the late 60s to the early 1970s.
The highly talented organist Ulrich Gumpert, along with top musicians like drummer Günter "Baby" Sommer, bassist Gert Lübke, and guitarist Günter Dobrowolsky, formed a powerful independent quartet as well the rhythm section within the Klaus Lenz Orchestra and later of the group SOK. Their modern, soulful, and funky Jazz-Rock compositions gained popularity and were even promoted by the
East Berlin youth radio. Guest artists like the famous Günther Fischer contributed to their first recordings. This retrospective LP celebrates a groundbreaking yet underappreciated era in East German Jazz and Rock history.
TRACKLISTS:
A1 Der Läufer Auf Dem Dach
A2 Karo Einfach
A3 Drittens
A4 Rot Und Grün
A5 So Einfach Ist Das
B1 Hallo Ulli
B2 High Heel Sneakers
B3 Gedanken
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Byron The Aquarius - Jamajama
2
Byron The Aquarius & Steven Klavier - Higher
Left field gangster synth jazz with a deep house nu boogie banger on the flip. BYRON THE AQUARIUS made their STAR CREATURE debut with a few remixes on Belgrade's IGOR JADRANIN's "CONTEMPORARY MOVEMENT" EP earlier this year. The A Side hits that squelchy synth bouncey stank face that’s heavy in the bass but light on the feet. The B Side collabs with STEVEN KLAVIER on vocals which one may recognize from his disco-forward collabs with KENNY DOPE, SOUL CLAP, KON, ELI ESCOBAR, and more.
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Yowzers is a new album by Chicago composer, improvisor, and musical folklorist Ben LaMar Gay.
Gay's de facto debut album—the 2018 compilation Downtown Castles Can Never Block The Sun—properly introduced him to the world by placing fifteen stylistically diverse tracks from seven then-unreleased albums next to one another. The release of his critically-acclaimed 2021 song cycle Open Arms To Open Us followed, and then the explosive free-electronics of 2022’s Certain Reveries. In addition to being featured on a staggering number of International Anthem releases (including albums by Makaya McCraven, jaimie branch, Damon Locks, Ibelisse Guardia Ferragutti & Frank Rosaly), Gay is one of the most prolific collaborators in creative music today, making active contributions to Mike Reed’s Separatist Party, Joshua Abrams’s Natural Information Society, Bitchin Bajas, Theaster Gates’s Black Monks of Mississippi, and many more.
A uniting factor in Gay's deep, multi-faceted discography is a never-ending commitment to taking the stories of the past and pushing them outward, filtered through a sense of self, to keep that information moving. Information moves through Yowzers via the intuitive physicality of Gay’s creative polyrhythmic constructions, as he covertly delivers familiar folk melodies. “It’s the most natural thing,” says Gay. “That’s how the world is. There are overlapping rhythms all around us, and so it reminds you of the reality of the world when you hear them. It’s a loop and the loop is always changing.”
Yowzers features Gay's working quartet with Tommaso Moretti (drums, percussion, voice), Matthew Davis (tuba, piano, bells, voice), and Will Faber (guitar, ngoni, bells, voice), as well as guest instrumentalist Rob Frye and a mini-choir comprising vocalists Ayanna Woods, Tramaine Parker, and Ugochi Nwaogwugwu. The album recalls the high-minded freedom of Liberation Music Orchestra, the glitched-out electronic webs of Robert Aiki Aubrey Lowe, the unbridled rhythms and sandpaper bellows of Bukka White, and the harmolodic cartoon glory of Arthur Blythe’s Illusions. It’s all there, filtered through an improvisational approach and a lifetime of secrets embodied. For a man who has inhabited and traveled these continents so extensively, it’s safe to call this work true “Americana,” despite what that word might mean to the average person in the United States.
https://listen.k7.com/ff1c4674-9e23-4e01-b7e8-7e1c631f4a18
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WAS - Word and Sound Medien GmbH
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Gay's de facto debut album—the 2018 compilation Downtown Castles Can Never Block The Sun—properly introduced him to the world by placing fifteen stylistically diverse tracks from seven then-unreleased albums next to one another. The release of his critically-acclaimed 2021 song cycle Open Arms To Open Us followed, and then the explosive free-electronics of 2022’s Certain Reveries. In addition to being featured on a staggering number of International Anthem releases (including albums by Makaya McCraven, jaimie branch, Damon Locks, Ibelisse Guardia Ferragutti & Frank Rosaly), Gay is one of the most prolific collaborators in creative music today, making active contributions to Mike Reed’s Separatist Party, Joshua Abrams’s Natural Information Society, Bitchin Bajas, Theaster Gates’s Black Monks of Mississippi, and many more.
A uniting factor in Gay's deep, multi-faceted discography is a never-ending commitment to taking the stories of the past and pushing them outward, filtered through a sense of self, to keep that information moving. Information moves through Yowzers via the intuitive physicality of Gay’s creative polyrhythmic constructions, as he covertly delivers familiar folk melodies. “It’s the most natural thing,” says Gay. “That’s how the world is. There are overlapping rhythms all around us, and so it reminds you of the reality of the world when you hear them. It’s a loop and the loop is always changing.”
Yowzers features Gay's working quartet with Tommaso Moretti (drums, percussion, voice), Matthew Davis (tuba, piano, bells, voice), and Will Faber (guitar, ngoni, bells, voice), as well as guest instrumentalist Rob Frye and a mini-choir comprising vocalists Ayanna Woods, Tramaine Parker, and Ugochi Nwaogwugwu. The album recalls the high-minded freedom of Liberation Music Orchestra, the glitched-out electronic webs of Robert Aiki Aubrey Lowe, the unbridled rhythms and sandpaper bellows of Bukka White, and the harmolodic cartoon glory of Arthur Blythe’s Illusions. It’s all there, filtered through an improvisational approach and a lifetime of secrets embodied. For a man who has inhabited and traveled these continents so extensively, it’s safe to call this work true “Americana,” despite what that word might mean to the average person in the United States.
https://listen.k7.com/ff1c4674-9e23-4e01-b7e8-7e1c631f4a18
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John Grant - Disappointing (Richard Sen Remix Vocal)
2
John Grant - Disappointing (Richard Sen Remix Instrumental)
3
John Grant - Voodoo Doll (Richard Sen Remix Vocal)
4
John Grant - Voodoo Doll (Richard Sen Sunshine Dub)
The Richard Sen remixes of John Grant were commissioned in 2016 but were never released. Since then, enquiries about release have continued to this day. Sen's remix of 'Disappointing' featured on Andrew Weatherall's Beats In Space mix in 2016 and was a staple in his DJ sets, especially at ALFOS. Charlie Bones, Ivan Smagghe and Optimo also supported it at the time. This release on Sen's DIYC label follows his much hyped album, India Man. In addition, Richard's compilation, Dream The Dream on Ransom Note (2023) was voted Best British Compilation by DJ Mag. These remixes have also been gaining much interest from the listeners of Sen's weekly show on Do!! You!!! Radio.
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