MAGIC MIX

psych . krautrock . prog . rock

WEEK STARTING 28 Jul

Genre pick of the week Cover of Anthology Of Interplanetary Folk Music Vol. 1: Nommos / Visiting by Craig Leon.

Craig Leon

Anthology Of Interplanetary Folk Music Vol. 1: Nommos / Visiting

Craig Leon’s seminal synthesizer albums 'Nommos' and 'Visiting' are finally re-editioned in definitive form as the 'Anthology of Interplanetary Folk Music Vol. 1' for RVNG Intl.’s archival series.

Issued respectively by John Fahey’s Takoma record label in 1980 and Leon’s Arbitor private press in 1982, 'Nommos' and 'Visiting' were the twin brainchildren of studio wizard Craig Leon. Leon’s production was pivotal in realising the debut recordings by Ramones, Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound, Leon’s own debut album was arguably, if not literally, more alien.

In 1973, the Brooklyn Museum hosted a comprehensive collection of sculptures by the Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections of a visit from an extraterrestrial species they named Nommos. Years after experiencing the exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was presented and a challenge in place: what would music sound like if handed down from an ancient alien species? And how best to imagine it?

Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to employ the latest and greatest synthesizer technology available. An avant empathist and eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint. After a secluded week in an Austin, Texas studio with his partner, wife and collaborator Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms programmed on a prototype of Roger Linn’s nascent drum-machine, the LM-1.

Issued by Fahey with zero expectation of the same radio airplay Leon accomplished with his pop productions, 'Nommos' now stands as an innovative example of cosmic-synth composition that wasn’t made for its time or any other. For this edition, Leon has in fact re-animated 'Nommos' by re-recording the exact audio signals as preserved in the album’s original studio notes. Every patch, tape-delay speed and outboard setting was transcribed as first scored, materializing the best possible audio of an album whose masters were unaccessible to Leon due to a major label merger milieu from years ago.

Additionally, the re-master of 'Visiting' was supervised firsthand by Leon. As its title suggests, 'Visiting' materialized in 1982 as a conceptual continuation of 'Nommos'. The album is in equal measure more improvisatory and constructed than its predecessor. Both albums were intended to be listened to as a set in the first volume of Leon’s 'Anthology of Interplanetary Folk Music' (the title was an homage to Harry Smith’s influential collection of folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and compositional additions to both albums to enhance the connectivity and encourage infinite interpretation.

While reissues and bootlegs have appeared to relieve the demand for these records, this collection will stand as definitive versions authorized by Craig Leon himself. The vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by Leon. The first tells the complete story of the stargazing Dogon people and their prescient understanding of cosmology. The second details Leon’s adventure in creating the 'Anthology of Interplanetary Folk Music Vol. 1', an epic story bookended on this side of history as one seamless synth classic.

Big Blood

Unlikely Mothers

    Brand new double LP from the duo of Caleb Mulkerin and Colleen Kinsella, who also play in Cerberus Shoal and Fire On Fire. The duo also performed on Michael Gira's Swans LP, The Seer in 2012. Based out of Portland, Maine, Big Blood has dropped a ton of stunning self released CDs and cassettes since 2006 as well as some fantastic vinyl releases for Time-Lag, Feeding Tube, Phase and Immune.

    Big Blood's sound is rooted in folk and prime 60s / 70s garage pscyh. This new double LP sees them focus more the electric side of things than on some previous releases with the addition of drummer, Shon. The record was recorded after Colleen spent a lot of time listening to Sabbath, Zepp and Dead Moon, so it definitely has a heavier vibe than some of their past releases.

    The gatefold sleeve features artwork by Colleen, 'Unlikely Mothers' refers to Colleen's mother (pictured on the inside) and Colleen's aunt (pictured on the outside), both were nuns. Her aunt stayed a nun and colleen's mom left (obviously) during Vatican II. The two images for the sleeve are from an ongoing series about women who buck common notions of who are the mothers in our lives.

    The LP is pressed on 180 gram red transparent vinyl (250 copies) and includes a download code and insert.

    One of the finest Claremont 56 releases, tucked away on a missable little 7" back in 2011, gets a big and beefy Mudd rework for 2014 on this dope 12". Recorded at Can’s legendary Innerspace Studio, it’s a seedy late night boogie affair with sultry vocals from a tempting hostess and the gentlemanly yet sinister host, the legendary Holger Czukay. Built on grinding, guttural bass, a rolling groove and slinky guitar lines, all finessed with weird space-ocean noises, this is immersive psychedelic disco at its finest. A good dose of organ comes into the second half and adds its own peyote addled charm. The results are of the kind when records become loved for their obscure oddity and otherworldliness. A track that doesn’t fit anywhere, but works everywhere.

    Blat Brut

    Blat Brut

      Amazing previously unreleased 1976 recordings by psychedelic progsters Blat Brut. Highly touched by the works of Jimi Hendrix, Traffic, John Mayall, Pink Floyd or Jethro Tull, the band melted all their influences into a unique sound and delivered extended heady instrumental jams with a tight, ferocious drum & bass backline under guitar pyrotechnics and psyched-out flute arrangements. This band was not only formed by its four musicians, their line-up also included two sound engineers who built their equipment and created the sound effects heard on the instruments. They where also responsible for these recordings made in 1976 and unearthed here for the first time ever.

      Think of a mindexpanded instrumental version of Pan & Regaliz, add some spicy bits of the early Jade Warrior's fuzz guitar, some reminiscences from Skin Alley's first LP or the Canterbury way of deconstructing instrumental passages and you'll get a close idea of what these young kids were doing where they were doing when they closed themselves together in their small rehearsal room in Barcelona's mid seventies.

      FORMAT INFORMATION

      Ltd LP Info: For the enjoyment of all mindexpanding progressive jam lovers, Wah Wah is now issuing them in a beautiful edition with paste-on cover and a gatefold insert plenty of photos and text by original band flutist Anton Serra, in a very limited edition of only 400 copies.

      Blues Pills

      Blues Pills

        Elin Larsson, Cory Berry and Zack Anderson - all in their early twenties - formed a group which should quickly become one of the most acclaimed and interesting bands around. Behold the birth of a new musical experience, an experience we thought was long gone, lost in time and space. Behold the birth of Blues Pills.

        The young American-Swedish-French quartet create a very unique, intense and extraordinary rock atmosphere while at the same time having a major mainstream appeal that takes you right back to the time of Blues Pills’ ancestors Aretha Franklin, early Fleetwood Mac, Led Zeppelin, Jimi Hendrix, Janis Joplin and Cream. Driving basslines, grooving drums and guitar solos from another planet by the only 17 year old Dorian Sorriaux, harmonized and tied together with such easiness, such delight, by Elin’s incredible voice, sometimes singing in her mother tongue Swedish.

        With the idea to take soul music, combined with blues and rock ‘n’ roll and turn it into a new force of unimaginable energy, intensity and freshness, their blonde archangel and soul saviour Elin Larsson will guide you gently into a new world - the band’s empire of soulful rock. Elin’s powerful lyrics are full of emotions, her jazzy-soulful voice unfolding with outstanding beauty.

        All this is realised on the band’s stunning 10 track debut, produced by Don Alsterberg (Graveyard) and packaged in the incredible 60s style artwork of Marijke Koger-Dunham.

        FORMAT INFORMATION

        2xLtd LP Info: Limited edition picture disc.

        Code III

        Planet Of Man

          Brothers Manfred and Wolfgang Schunke were pioneers of the Kunstkopf Stereophonie (artificial head, dummy head) binaural recording system. This recording technique was created in the Technical University of Berlin in 1974 with the aim to reproduce real stereo sound as the human ears perceive it. Human ears listen to the sounds in a concrete way that is affected not only by the sound frequencies themselves but also by the position of the listener in respect to the different sound sources. The Schunke brothers wanted to experiment this recording technique, and as early as 1974 they set their own kunstkopf recording studio, Delta Acustic, with the help of Klaus Schulze.

          Code III was the vehicle for Manfred Schunke to explore the possibilities of kunstkopf recording. To do so, he joined forces with two Berlin-resident americans: Ed and Mary Key. Lyrically, Planet Of Man verses on the big theme of the creation of Earth, as The Crack In The Cosmic Egg book details it: "The music on PLANET OF MAN is a sonic depiction of the history of the Earth, from the void of empty space, via the formation of the planets, the evolution of life, through to man's domination of the planet, and ultimately back to the void. The opening and closing excursions, involving atmospheric electronics, injections of a dreamy folk song, and disembodied resonant female voice, hint a little at Brainticket's CELESTIAL OCEAN, although the mood is much spookier. Confusingly "Dawn Of An Era" (the lyrics are sung in the previous track) involves what sounds like demented Neanderthals involved in some weird drum ritual. "Countdown" adds up to a blend of atmospheric electronics with abstract use of voice collage and effects (and Indian music), onto a remarkably clever accelerating space-rock burn-out featuring Klaus Schulze at the drum stool! Returning to weird space music at the end, it all adds up to a remarkable and unique album."

          Planet Of Man was one of the six releases on the Delta Acustic label (among them there was the legendary Sand Golem LP), all recorded using the Kunstkopf Stereophonie techniques. After that, the Schunke brothers would quit the studio and move to new adventures. Manfred continued experimenting with dummy head recording, he would work, among others, on albums by Can and also use his binaural engineering experience on Lou Reed's 1978 Lps Street Hassle and Take No Prisoners, among many others. There were originally two different versions of the album, the Wah Wah edition reproduces the longer, uncut one.

          FORMAT INFORMATION

          Ltd LP Info: First ever official vinyl reissue, with remastered sound and an insert with liner notes curated by Wolfgang Schunke for the occasion.

          ‘Oscillations’ is the debut album from London’s Cosines, and charts the ups and downs, the instability of relationships, misguided hook-ups and ‘subsequent break-ups. The matter-of-fact blunt Yorkshire stylings of songwriter Alice Hubley’s lyrics tell it like it is, and the resulting tone is one of relief more than sadness. Simon Nelson’s songwriting contributions to the album – Lookout Mountain Drive and Stalemate - compliment Hubley’s songs perfectly and bring a second perspective to the scene. Peppered with luscious synth tones this is music for modern happy robots.

          The album was recorded and produced by the band in Wood Green at Simon’s own Klank Studio, using a variety of instruments and electronic trickery including marimba, autoharp, theremin and cranky old Moog and Roland synths. The album features guest turns from spiritual members Gabe Saucedo (Still Flyin’, Red Pony Clock) and Gary Olson (The Ladybug Transistor), who phoned in their recordings from across the pond. As a band Cosines are constantly trying to find the perfect meeting point between clean synths and fuzz guitars. Though their lineage and history presents them as indie pop, they bring new wave, avant-garde 60’s pop and synthentic Krautpop to the mix, creating a sound all their own. A brilliant mélange of the likes of Love, United States of America and Stereolab.

          FORMAT INFORMATION

          LP Info: Limited edition 12” vinyl album (500 copies) includes MP3 download.

          CD Info: Limited edition CD album in handpainted sleeve (200 numbered copies).

          A new collaborative album from Brian Eno and Karl Hyde. The album is comprised of nine songs, composed and sung by Eno and Hyde together with a highly distinguished cast of supporting musicians, including Tessa Angus, Nell Catchpole, Marianna Champion, Will Champion, Kasia Daszykowska, Don E., Darla Eno, Fred Gibson, Georgie Gibson, Andy Mackay, John Reynolds and Chris Vatalaro. The release was produced by Brian Eno with 20 year old Fred Gibson, continuing an ongoing collaboration between Karl and Brian which sees the two together on a complete album for the very first time.

          Pulling in a variety of directions, 'Someday World' takes in the the esteemed duo's previous incarnations and ambient, rock, electro and techno producers, and then goes about meshing all those ideas together. Opener 'The Satellites' is anthemic stadium tech-house with a motorik rhythm and blasting synth horns. 'Daddy’s Car' offers busy indie-dance. Hyde's poetic vocals are front and centre on 'A Man Wakes Up', which combines highlife guitars and jazz-rock rhythms. Featuring choppy 'Virginia Plain' piano, uplifting chord progressions and spoken vox 'Witness' is sure to be another festival winner. Aiming for the home listener 'Strip It Down' gives minimalism a pop twist. Brooding and beatdown, 'Mother Of A Dog' sounds like an outtake from 'Mezzanine'. 'Who Rings The Bell' brings to mind 80s rockers the Blue Nile. 'When I Built This World' switches between angular, arty jazz squiggles and propulsive krautrock, leaving 'To Us All' to fade us out on a tide of dreamy soft rock uplift...

          Brian Eno:
          “A lot of the nicer cities I know are cities built on hills, and the cities are beautiful because the buildings have a challenge to adapt to. They have to mould themselves around the geology that they've formed upon. And that always makes for very interesting buildings, because they can't just be blocks, they have to somehow morph around the environment. A lot of the constructions on the album were deliberately irregular and awkward. I had a big collection of 'beginnings' sitting around waiting for something to galvanise them into life, to make them more than just 'experiments'. That something turned out to be Karl Hyde.”

          Karl Hyde:
          “It's a bit like being nine years old again. You have no idea what you've just been given, the record button has been pressed and you're on. And then these unlikely patterns start to happen. The biggest surprise was discovering we both had a love of Afrobeat, Cyclical music based in live playing. When Brian played me these early tracks it was, 'Oh my god, this is home! Can I borrow a guitar?”

          Peter Michael Hamel

          The Voice Of Silence

            A few years ago we were lucky to be allowed to reissue some of Peter Michael Hamel works. Two LPs by Between (And The Waters Opened - now deleted - and Einstieg -a few copies still available) and the great Hamel 2LP (also deleted!) joined the Wah Wah catalogue. We would have wanted to go for the Voice Of The Silence too, an now we have finally got the kind permission to go for it.

            Here is a much needed reissue of the sought after second LP by Peter Michael Hamel, originally released on the collectable Vertigo label in 1973. Hamel's experimentation with meditative and minimalist sounds is a further field of exploration for those into the likes of Terry Riley, LaMonte Young, Popol Vuh, Taj Mahal Travellers or Deuter- and will also appeal to those with interest in ambient and meditation musics.

            From "A Few Thoughts on Composer PMH" by Terry Riley:
            "...Peter's heart did not seem to be aligned alone with the post Webern traditions that had emerged so prevalently in Germany. His sensibilities were attracted more to American minimalism and Indian music and to some degree Rock and Jazz. In this sense he stands apart in the field of modern music of Germany. He has recognized the vast importance of improvisation and being 'in the moment' in music performance. He realizes the importance of experimentation and of finding new ways to notate his ideas. However, his music is at the same time rooted in the great German tradition and today he is recognized as a major figure whose compositions have greatly enriched the development of 20th and 21st century."

            FORMAT INFORMATION

            Ltd LP Info: Originally released in Vertigo in 1973, the Wah Wah reissue will come housed in a textured sleeve reproducing the original artwork, remastered sound, and feature an insert with photos and liner notes. Limited edition of only 500 copies.

            Huckle

            Upon A Once Time

              We're proud to present the first ever vinyl reissue project of Canadian hippy folker Huckle. This first album was recorded with only accoustic instruments in spring of 1974 with the help of some of The Perth County Conspiracy members and had a very limited release. This is one of finest psych folk albums of canadian scene from the 70's. An extremely rare and difficult to find record. It appears on Pokora's Record Collector Dreams Book with 4 records, and collectors have paid more than 600$ for the originals of this impressive crossover between the first Dylan and the first Van Morrison. Beautiful songwriting and great performance for a folk masterpiece that includes "Flowers", "Beyonder" and "The Sunshine Shuffle".

              Mapache presents this vinyl reissue, digitally remastered from the original tapes, with original artwork, including the paste-on cover and an extra insert with unseen pictures.

              FORMAT INFORMATION

              Ltd LP Info: Limited to just 500 copies.

              Huckle

              Wild Blue Yonder

                We're proud to present the first ever vinyl reissue project of Canadian hippy folker Huckle. Wild Blue Yonder is a cosmic-psych folk rock masterpiece recorded in 1976 as his second and last album from that period. After his accoustic debut, Huckle recorded this album with a full band creating a fascinating mix between folk and rock. This is a favourite album for folk and roots music collectors. Extremely rare and hard to find, it has arrived up to $400 on auctions. Sometimes with an "Astral Weeks" flavour, this album combines great songwriting with an excellent freedom feeling and a very special performance.

                Mapache presents this vinyl reissue, digitally remastered from the original tapes, original artwork and extra insert with unseen pictures.

                FORMAT INFORMATION

                Ltd LP Info: Limited to just 500 copies.

                The Kneejerk Reactions

                The Indestructible Sounds Of...

                This raw rhythm’n’beat garage-rock’n’roll combo, headed up by the ubiquitous veteran rocker, Sir Bald Diddley (aka Hipbone Slim), delivers super rough, tough and wild mid-’60s inspired sounds that are just about as frantic as a pack of dogs in a lamp post factory. It’s British beat at its best, loaded with grab-your-throat guitar riffs, snarling vocals, wailing harp and much maraca shaking -- proper raw-as-you-like freakbeat, inspired by the likes of the Pretty Things, Kinks, Downliners Sect, Them, Birds, Stones, Yardbirds, Sorrows, Small Faces, Outsiders, Bo Diddley, Chuck Berry, Link Wray, Howlin’ Wolf, Jimmy Reed, Sonics, Wailers, Larry & the Bluenotes and the Remains. Basically, all the people in music really worth talking about.

                Krakatau

                Water Near A Bridge

                  RIYL: Agitation Free, Cluster, Popol Vuh, Godspeed! YBE, Embryo, Magma, Bitchin’ Bajas

                  Some of the oldest known rocks on earth are found in the Northwestern region of Australia dating back some 3.5 million years. Fitting, since the stirring trio of opuses that comprise Melbourne, Australian band Krakatau’s debut “Water Near A Bridge” seemingly have their origins before recorded history, emerging from the primordial ooze & lurching towards your turntable like a creature out of Lovecraftian fiction. The guitar-less trio, Krakatau utilize organ, bass & drums to communicate their message crafting dense & heady tunes sprung from the seeds of improvisation & honed to perfection in the studio.

                  Side A is comprised of two compositions; “Riddells Creek” starts off the side with progressive grooves that fade into focus, slowly stretching into a shamanistic organ drone before sliding into an oily, funky strut peppered with some sweet organ leads. “All Water Near A Bridge” closes the side with a rippling synth cascading over the pusle of an interstallar heartbeat.

                  “Kuriere” occupies the whole of Side B, resplendantly indulgent in it’s shapeless slithering beginnings that bubble & swell into the primitive rumblings of the rhythms of lost civilizations that thrived & crumbled into oblivion before we ever existed. A bewitching miasma of technology & nature turning in on itself, swallowing it ’s own tail.

                  “Water Near A Bridge” is a vinyl-only release, pressed on 150gm black vinyl & includes a download code.


                  Bob Lind

                  Since There Were Circles

                    Mapache presents the very first vinyl reissue of this truly buried treasure of american music originally issued on Capitol. In 1971, a semi-retired songwriter after his 60's hits entered at the studio to record a masterpiece of pop-folk with an incredible allstar band that included Gene Clark (The Byrds), Doug Dillard (The Dillards), Carol Kaye and Bernie Leadon.

                    Produced by Doug Weston with beautiful arrangements by Jimmy Bond, this amazing collection of tunes beween pop and traditional roots music became his last studio album to date. Full of incredible performances and great songs, "Since There Were Circles" is what music lovers define as a "buried treasure" in his own right.

                    Mapache presents this vinyl reissue, digitally remastered from the original tapes, with original artwork and replica of original insert. Plus, this reissue includes an extra insert with rememberings and thoughts of the album recording sessions written by Lind's himself.

                    FORMAT INFORMATION

                    Ltd LP Info: Limited to just 500 copies.

                    Van Dyke Parks

                    Super Chief: Music For The Silverscreen

                    ‘Super Chief: Music For The Silver Screen’ is an ‘orchestral fantasy’ inspired by a rail journey Van Dyke embarked upon across the United States in 1955.

                    Originally made available for the first time on a very limited vinyl pressing in 2013. Now re-pressed, following an almost immediate sell out of the original pressing.

                    In Van Dyke Parks’ own words: “I’ve made an orchestral fantasy illustrating my first trip across the USA by rail, in 1955. This Suite is drawn from over a score of years, and as many films, now re-recorded from my archives as a film-music composer. […] In editing, I was surprised to discover my penchant for folk themes, reframed in orchestral settings. (There are countless quotes from the 19th century ‘The American Century’). […] The lingo of such traditional American music reveals my obsession, however unconscious, for rustic old saws that can still cut the wood. Yep, it’s Americana. All made in the great 48. […] Celtic examples abound: ‘The Water Is Wide’, ‘Old Joe Clark’, ‘The Forked Deer’, ‘Saint Anne’s Reel’, ‘I Ride An Old Paint’, etc. With these references, a dash of lowchurch hymns (‘Goin’ Home’) and an occasional Aboriginal motif, all embedded in this novel and singular Ode to that passing American scene... so long ago, yet about a handshake away. […] It can come in handy as a backdrop to a romantic interlude in candle-lit dinner conversation over a fine linen-count. (I’ve tried this at home.) Perhaps for a head-set in a subway tunnel, or as a car-tune in a smooth segue from the surrounding road-rage on a daily commute.”

                    FORMAT INFORMATION

                    Ltd LP Info: LP features a copy of the album on CD. The CD includes three extra tracks: ‘The Pleasure Dome’, ‘Bed Of Stones’, and ‘So Long Santa Fe’.

                    It’s in the haze of a cloud of chirruping insects that Plank return, following the success of their mammal-concerning debut LP Animalism.

                    Two years since that record gained plaudits and sold out vinyl run, the instrumental trio have thematically splintered the number of beings on Hivemind, paying homage to the millions of arthropods without which our global eco-system could not survive. It’s apt enough, really, because Plank themselves have opened up a whole new sub-species of sounds, elements and textures beyond their previous environment too, each track giving the feel of an overall movement through differing habitual undergrowth.

                    Definitely an album designed for vinyl (it’s on 180 gram) with side A more song structures (King Crimson, Camel, Trans Am, Giorgio Moroder, Kling Klang, Agitation Free, Steve Reich) and side B should be listened to as one complete piece ala DJed by Tortoise or Echoes by Floyd.

                    “instru-mentalists with maverick Krautrock vibes” - Guardian Guide.

                    “James Murphy at his Kraftwerk swiping best” - The Fly.

                    “akin to Chrome Hoof creating a cosmic space soundtrack to a modern day reboot of Blade Runner” - Loud & Quiet.

                    “the music John Carpenter would make if he was in 65 Days Of Static” - Clash.

                    “The orchestration throughout 'Hivemind' is deft and the arrangement fluid and impeccable as the band move between blissful popol vuh style ambient heaviness ,metronomic jams. Math-rock and full-tilt psyche wig-outs. Basically, it's the bees knees” - Prog Rock.



                    Just when you thought it was safe to go back in the water, the critically acclaimed H-Track crew get back to waxing ways and demand your presence on the beach bar dancefloor for the foreseeable future. The H-Track series may not have been the most prolific over the last six years, but their work is always high on quality, even if it's lacking in quantity. For volume 4, H-Track is joined on production duties by Mancunian chum Haners and old time associate Tony Watson, who makes his vinyl debut. Haners jumps straight into the action on the A-side with an amazing extension of Dutch soft rock also-rans Rene And His Alligator and their 1982 recording "Can't Live My Life". There's no doubting that this is one of those songs that makes you think there is a galactic ocean's worth of more to discover, just when you thought you'd heard it all! A gentle yacht rock groove rolls away underneath the exotic kalimba and West Coast guitar licks while Renee's vocals steal you away to a distant land. It's a divine trip you don't want to end so it's just as well that Haners has doubled the length. On the flip, official edit debutant Tony Watson gets his scalpel stuck into the opening track of Eurthmics' soundtrack for the big screen adaptation of 1984. Dave Stewart described the album's sound as "Kraftwerk meets African tribal meets Booker T and the MGs", and it's difficult to disagree when you're listening to a zero gravity afro cosmic bomb of this magnitude. Watson's rearrangement takes the original to the next level of Baldellian brilliance and provides a lysergic dancefloor delight of the highest order. Last up, it's the turn of H-Track himself to take centre stage, which he does with the panache of a seasoned pro. Finally making his long time secret weapon "Lifestream" available for public consumption, H-Track unleashes an intergalactic wormhole powerful enough to invert the fabric of space itself. From an opening reminiscent of an 80s new age album, the track kicks into gear and transforms into a cosmic dancer you'll be powerless to resist with it's chugging bass power and hypnotic synth parts. A fine return, and hopefull the sign of more to come.


                    STAFF COMMENTS

                    Patrick says: If you're a fan of obscure Dutch soft rock (and let's face it, who isn't!) then the edit of Rene And His Alligator's "Can't Live My Life" will be a winner for you.


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