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TUNE-YARDS

FaltyDL

In The Wild

    Drew Lustman returns to the LP format after the success of 2012's "Hardcourage" and his subsequent dancefloor orientated business on Swamp81 and his own Blueberry Records. "In The Wild" sees the Brooklyn producer stretching further into his established territory of glitchy electronica and bass leaning house, while expanding his horizons with a melange of new flavours. Lead track "Do Me" offered some deeply skewed footwork, while "Greater Antilles" incorporates hints of ambient into its exotic sound. So far FaltyDL has paid his dues, learned from contemporaries and hit the big time, and now on album number four, it seems he's ready to see how far he can go.

    It’s a new Mr. Scruff album and you know what to expect, right? We widdle on about sexy potatoes and bouncy bacteria offering you a cup of tea, you have a little chuckle and actually make a brew, you stick on the album and… hold on. Because you see, quietly and without a lot of fuss (cos that’s not the way the Stockport Strepsil rolls) Mr. Scruff aka Andy Carthy has been evolving and developing his music.

    So yeah, you can still count upon a shedload of gritty funk and stony soul (not sure where this metaphor’s going..?) but the new record displays a stripped back musicality, a depth that maybe hasn’t been there before. It’s been coming across his last few releases, but this is the most complete, sustained exploration of where his music is at right now. In Carthy’s own pithy words it’s “tougher, sparser, less samples, more bass. More vocals and collaborations and shorter tunes.”

    If this record proves anything, it’s that there’s more, much more to the work of Andy Carthy than dancefloor grooves and funny cartoons.

    Don’t worry though - it is still one sexy potato.


    TRACK LISTING

    01. Stereo Breath Feat. Denis Jones
    02. Render Me Feat. Denis Jones
    03. Deliverance
    04. Thought To The Meaning Feat. Denis Jones
    05. Friendly Bacteria
    06. Come Find Me Feat. Vanessa Freeman
    07. Where Am I?
    08. He Don't Feat. Robert Owens
    09. What
    10. We Are Coming
    11. Catch Sound Feat. Denis Jones
    12. Feel Free

    Tune-Yards

    Nikki Nack

      When Merrill Garbus first committed her tUnE-yArDs persona to tape, she used a simple dictaphone to capture every part and then lovingly pieced it all together on GarageBand. A laborious process partly enforced by tight finances, the resulting album Bird-Brains (2009) was a sheer joy. A record so unique, it immediately set hearts racing; The Guardian in their five-star review went as far as to call her "the find of the year." At the same time, she enlisted Nate Brenner on bass to help her make tUnE-yArDs an unmissable live act. It worked. Word of mouth quickly spread, helping to fill every venue they played and to take the magic of Bird-Brains across the world. With a record deal also in the bag, she was able to now concentrate on being a musician full-time.

      Shortly after, Merrill relocated from Montreal to Oakland, California, a new home that would have a huge influence on the themes for her next record, the call to arms that was w h o k i l l (2011). Recording in a studio for the first time, it showed Bird-Brains to be no fluke. Lyrically, Garbus explored constructs of femininity and sexuality, marrying it with the threat of violence that lurks on the streets where she lives, all the while maintaining the energy of their show and translating it perfectly to record. Cropping up in nearly all end of year lists, it was topped off with w h o k i l l named Album of the Year in the Village Voice’s highly prestigious Pazz & Jop poll, based on the votes of 700 of America’s most notable music critics.

      After 18 months of near solid touring around the second album, Merrill gave herself some much-needed time off; "It was nice; I was trying to be healthy and have a good time,” she says. It was also the first time since embarking on life as tUnE-yArDs that she was without any new material in the works, allowing her to reflect on what’s gone before and where to next; “I thought, 'OK, if I'm going to grow as an artist, I need to do this differently.’”

      Where the second album saw her stepping in to a studio proper for the first time, her third album Nikki Nack sees her enlist producers to help her achieve new heights on some tracks; “To ask Malay (Frank Ocean, Alicia Keys, Big Boi) and John Hill (Rihanna, Shakira, M.I.A.) for input, I had to let go of tUnE-yArDs being rigidly my production. I have a very specific vision for the sound of the band and I don't think women producers get enough credit for doing their own stuff, so I was resistant – but we grew, Nate and I both, and the songs grew. And it turns out that's what's most important: the songs, not my ego.”

      A record that could only have been made by its creator, at heart it’s heavy yet still retains a sense of fun. This is explained in part by experiences in between records - like a life-affirming trip to Haiti (which she wrote extensively about for the online magazine written by the artists themselves, The Talkhouse) and her finally catching up with 80s kid’s TV programme Pee Wee’s Playhouse some 25 years since first broadcast - proving influential during the songwriting process. Her upbringing was also at the forefront of her mind in this period, shown by her subtle use of the traditional American music her parents raised her on to help colour her new creation (her dad’s old fiddle too makes an appearance).

      Experimentation is still key for tUnE-yArDs. Where the loop pedal and the saxophone were main components of the first and second record respectively, it’s the drum that takes centre stage here, augmented by greater use of synth and Nate’s growing prowess as a bassist. She also decided to launch her third album with a homemade ‘MegaMix’ of the record, posting it to her fans online on her birthday; "I've put together a mash-up so you can get a tiny taste. We really can't wait to play this music for you. Thanks for all your support and patience while we cooked this chicken!".

      With it’s its jump-rope-chant title, the brilliantly playful Nikki Nack continues the tUnE-yArDs story gloriously.

      STAFF COMMENTS

      Andy says: More unique brilliance from Merrill Garbus. Pure imagination!

      Actress

      Ghettoville - 5xLP Box Set

        Actress’s debut album ‘Hazyville’ will be remastered and released for the first time on white vinyl (with artwork etching on side F) as part of a beautifully crafted ‘Elephant’-skinned box set edition of ‘Ghettoville’, which comes complete with a 40 page artbook, the vinyl format of ‘Ghettoville’, and CD versions of both releases.

        On 2012's "RIP" Darren J Cunningham took a step away from the 4/4s of his early career to explore the realm of dreamlike soundscapes and intangible melody. His latest record, "Ghettoville" sees the producer wake from the dream to find that it's become his reality. The album begins with a thick grime of machinery, occasionally penetrated by dissonant guitar and eerie pads. On "Corner" Actress brings the world into focus. The gangsta rap bassline and keyboard merge with the raw house rhythm conjuring images of burnt out cars and run down buildings. The lolloping beat of "Rims" combines with a rubbery bassline as the raw outsider techno sound becomes possessed by the ghost of bass music past. The gorgeous ambient soundscapes of "Our" and "Time" will seduce fans of Four Tet or (late) Radiohead with their fragile beauty, while "Bircage" sees Actress experiment with new sounds, constructing a primitive tropical drum house track which borders on the Balearic. Club kids needn't fear though, "Gaze", "Skyline" and "Frontline" are raw jackers that'll keep you moving throughout the darkness. "Rap" and "Rule" are the offspring of Hip Hop and RnB after a hefty swig of the 'drank', blurred, slowed down and generally spannered. Indeed the album peaks on the closer "Rule" as Actress fuses the pitched down rap lyric with the keys from "Gypsy Woman" to create a beatdown bomb that any local Detroiter would be proud of. "Ghettoville" is a bold and complex album which sees the different strands of Cunningham's sound pulled together into a dystopic futuristic vision, brimming with ideas and filtered through the producer's unique aesthetic. 

        TRACK LISTING

        'Ghettoville’
        Forgiven
        Street Corp.
        Corner
        Rims
        Contagious
        Birdcage
        Our
        Time
        Towers
        Gaze
        Skyline
        Image
        Dont
        Rap
        Frontline
        Rule

        ‘Hazyville’
        Again The Addiction
        Hazylude
        Doggin’
        Ivy May Gilpin
        I Can’t Forgive You
        Crushed
        Redit 124
        Againlude
        Hazyville
        Mincin
        Green Gal

        Actress

        Ghettoville

          On 2012's "RIP" Darren J Cunningham took a step away from the 4/4s of his early career to explore the realm of dreamlike soundscapes and intangible melody. His latest record, "Ghettoville" sees the producer wake from the dream to find that it's become his reality. The album begins with a thick grime of machinery, occasionally penetrated by dissonant guitar and eerie pads. On "Corner" Actress brings the world into focus. The gangsta rap bassline and keyboard merge with the raw house rhythm conjuring images of burnt out cars and rundown buildings. The lolloping beat of "Rims" combines with a rubbery bassline as the raw outsider techno sound becomes possessed by the ghost of bass music past. The gorgeous ambient soundscapes of "Our" and "Time" will seduce fans of Four Tet or (late) Radiohead with their fragile beauty, while "Bircage" sees Actress experiment with new sounds, constructing a primitive tropical drum house track which borders on the Balearic. Club kids needn't fear though, "Gaze", "Skyline" and "Frontline" are raw jackers that'll keep you moving throughout the darkness. "Rap" and "Rule" are the offspring of hip hop and R&B after a hefty swig of the 'drank', blurred, slowed down and generally spannered. Indeed the album peaks on the closer "Rule" as Actress fuses the pitched down rap lyric with the keys from "Gypsy Woman" to create a beatdown bomb that any local Detroiter would be proud of. "Ghettoville" is a bold and complex album which sees the different strands of Cunningham's sound pulled together into a dystopic futuristic vision, brimming with ideas and filtered through the producer's unique aesthetic. 


          Machinedrum

          Vapor City

            Electronic music’s Renaissance man Travis Stewart, better known as Machinedrum, drops ‘Vapor City’ his first full-length offering since his critically heralded ‘Room(s)’ in 2011.

            Conceptually based on recurring dreams he has had for years about an unknown metropolis, Stewart has finally crafted a fully formed soundscape which doubles as a map into this imaginary universe. “‘Vapor City’ is an album inspired by a dream city,” explains Stewart. “A collection of different songs each representing different districts in the city.”

            Combining the speed of skittering jungle / juke rhythms with enveloping half speed basslines, atmospheric pads, lush piano chords and disembodied vocal samples, he's created the perfect backdrop for a trip through his invisible city. Opener (and single track) 'Gunshotta' twists old school jungle and ragga vox with a post-dubstep emotive soul and electronic depth. Hardcore shifter 'Infinite Us' combines rough beats with sparkling synth spirals with rising notes, while 'Don’t 1 2 Lose U' reimagines old school R&S rave with 2013 digital kit, juke rhythms and that post-Burial, post-Blake emotion. Taking a bit of a breather in the BPMs 'Center Your Love' offers a swooning female vocal and Boards Of Canada style detuned keyboard lines at the centre of rolling head-nod break. Heavily treated yearning vocals over a rolling junglist rhythm make 'Rise N Fall' another outstanding cut here, with 'U Still Lie' bringing an 80s electro ballad feel to the proceedings, and closer 'Baby It’s U' offering R&B suffocating under the crunch, crackle and rumble of current alt-step production sounds.

            The perfect counterbalance to the wave of harsh stadium-friendly no-brain EDM bro-step that passes for 'dance music' these days.


            Machinedrum

            Eyesdontlie / Body Touch

              Electronic music’s Renaissance man Machinedrum aka Travis Stewart is prepping for his biggest and boldest album release to date with Ninja Tune. ‘Eyesdontlie’ is the first single from the new record.

              Conceptually the album is based on recurring dreams that Travis has had for years about a metropolis known as Vapor City. He has crafted a fully-formed soundscape which doubles as a map into this imaginary universe. The road to Vapor City begins now with the ‘Eyesdontlie’ single, representing the first district from Travis Stewart’s newest universe.

              Travis has produced for Azealia Banks and Theophilius London, and ghost written for Missy Elliot and Tiesto. Other high profile fans include SBRTKT, Hudson Mowhawke, and Jesse Boykins, amongst many others.

              There is a large immersive campaign around the record including a new interactive website and unique launch parties streamed with Boiler Room in London, Paris, Berlin, New York and LA, each with visuals themed around a different district from ‘Vapor City’.


              Nottingham’s six. by seven, released their first album, The Things We Make to rave reviews in 1998. Five Peel Sessions followed, an appearance on ‘Later With Jools Holland’ and much touring. The band gained a strong underground following, and released four more albums. Lead singer and creative force, Chris Olley preferred to shun the limelight, releasing internet only albums of wide ranging music and building valve distortion boxes for a number of famous bands with fellow guitarist, Martin Cooper. In 2011, Olley formed the drummerless version of six. by seven, macabrely named ‘The Death Of Six By Seven’ with long time original member and Hammond Organ player, James Flower and ex-six. by seven bass player, Pete Stevenson as well as Martin Cooper on guitar. Gigs followed and so did five singles and an album. After a wrong phone call to a music shop and a chance meeting in London, Olley found himself having a beer with ex Placebo / Boo Radleys drummer Steve Hewitt.

              It turned out to be a magical and divine coming together as Hewitt said, “There’s nothing for it, I should throw my drums in the car and come up to Nottingham and get you rocking again.” What followed was four months of rehearsing old songs Olley had written over the last five years, before the band recruited producer, Dan Austin (Massive Attack, Doves, Biffy Clyro) and recorded 9 tracks at the legendary Moles studio in Bath. This July sees the release of what is arguably six.by seven’s most accomplished album. Nine songs of pure drumming dynamite, feral guitars, and a string of songs dealing with the human condition and its broken dreams. It’s a new start by a band that refuses to lie down and stop rocking.

              TRACK LISTING

              Change
              Sympathy
              Truce
              More
              Standing In The Light
              The Rise And Fall And Decline Of Everything
              Colder
              Crying
              Fall Into Your Arms

              If there's one thing occasionally lacking in the current crop of electronic wonders, it's fun. Fun is what sets Letherette apart, what makes them more than just another act in electronica, and what makes their self-titled debut a classic album. Letherette is, dare we say it, a classic of 'dance' music generally.

              The young duo from Wolverhampton have won hearts, minds and feet with four EPs, stunning remixes for Machinedrum and Bibio, and exuberant live shows. It's easy to see why they inspire such enthusiasm; they understand the cutting edge without feeling afraid to let themselves go, and their music is all the better for it. Letherette explores mood confidently, taking in introspective, melancholic moments as well as upbeat drive, and lending their debut extraordinary depth.

              If you're someone that wants to enjoy music as much as you admire it, Letherette will put a big, day-long smile on your face.


              TRACK LISTING

              After Dawn
              D&T
              Restless
              I Always Wanted You Back
              The One
              Gas Stations And Restaurants
              Cold Clam
              Warstones
              Boosted
              Space Cuts
              Hard Martha
              Say The Sun

              Bonobo

              The North Borders

                'The North Borders’ is the eagerly anticipated fifth studio album from iconic Ninja Tune artist Bonobo, and features appearances from Erykah Badu, Grey Reverend, Szjerdene and Cornelia.

                Three years on from his breakthrough album 'Black Sands', 'The North Borders’ has kept to a similar widescreen electro-acoustic soundscape, providing us with another selection of upbeat downbeat gems. Opener 'First Fires' has the melancholy and post-dubstep clicks and blips of a James Blake production, given extra similarity by Grey Reverend's vocal. Bonobo has been playing with 2-step rhythms for a while now (check 'Black Sands' favourite 'Eyesdown'), and now with the UK garage revival in full swing, cuts like 'Emkay' and 'Know You' sound right on point for 2013. House cuts like 'Don't Wait' and 'Antenna' lead the way to an alternative dancefloor, while 'Cirrus' features a similar intricacy to Kieran Hebden's polyrhythmic creations. Star guest Erykah Badu adds typically sublime vox to string-laden wonky-hop cut 'Heaven For The Sinner', while upcoming singer Szjerdene is equally ear-catching on future R&B essentials 'Towers' and 'Transits'. 'Jets' expands on the kind of crackling atmospherics of a Burial production, adding lush strings and organic percussion. 'Sapphire' has a rolling dubstep rhythm, but with plucked harps and vocal samples sewn into the mix. Bonobo leaves us wanting more with the beatdown downbeat album closer 'Pieces', featuring sweet vocals by Cornelia and uplifting strings and woodwind.


                TRACK LISTING

                01. First Fires Feat. Grey Reverend
                02. Emkay
                03. Cirrus
                04. Heaven For The Sinner Feat. Erykah Badu
                05. Sapphire
                06. Jets
                07. Towers Feat. Szjerdene
                08. Don't Wait
                09. Know You
                10. Antenna
                11. Ten Tigers
                12. Transits Feat. Szjerdene
                13. Pieces Feat. Cornelia

                TUnE-yArDs

                Tune Yards As Yoko

                  tUnE-yArDs record Yoko Ono's "We're All Water" and remix Yoko's "Warrior Woman."

                  • Limited edition of 1,000.
                  • Beautifully pressed one-side 10" vinyl with a Yoko etching on the flip side.
                  • Packaged in a clear plastic sleeve.
                  • Proceeds to benefit a charity TBD.

                  FaltyDL

                  She Sleeps Part 2 - Inc. 2000Black / Martyn Remixes

                    Drew Lustman is currently one of the hottest new names in electronic music. ‘She Sleeps’ is the second single from his new album ‘Hardcourage’ and features a collaboration with Friendly Fires' vocalist Ed Macfarlane. The single is spread over two separate 12”s. The only vocal song on the full length, "She Sleeps" features a brilliant, haunting turn from Macfarlane. Mysterious, tender and reflective, his lyrics weave around the driving, purposeful percussion and a melody that's singularly exploratory and gentle. The single comes with a remix package that more than does justice to the quality of the original. Exuberant London broken beaters / boogie-ists 2000Black (Dennis 'Dego' McFarlane, Kaidi Tatham) have worked "She Sleeps" into a deep, hypnotic soulful groove (this 12” includes vocal, instrumental and acapella versions of their mix). Meanwhile, Holland's electronic pioneer Martyn has reworked the track into a writhing, muscular dancefloor stomp.


                    Welcome if you will, to the coming of age of FaltyDL, AKA Drew Lustman. A producer who's already carved out a name as one of the most exciting talents to emerge in electronic music of late, he's released albums on Planet Mu, supported Radiohead (and topped Thom Yorke's office playlist,) as well as remixed the XX, Scuba and Mount Kimbie - to name but a few. He also has his own label, Blueberry Records, in collaboration with which Ninja Tune presents "Hardcourage".

                    "Hardcourage" is the NYC-based Lustman's masterpiece: an electronic opus inspired by love and crafted with renewed intent and dedication. Lustman often makes mention of attempting to channel the music in his head, to allow it to pour forth direct from his subconscious. In "Hardcourage" it seems he's succeeded. The music here feels incredibly natural, the songs taking the most perfect of shapes, their emotive rise and swell both subtle and immensely powerful.

                    Halfway through making the album, Lustman fell in love - the object of his affections rapidly becoming his muse. He's been very lucky in more ways than one: "Hardcourage" is full of uplift, energy and purpose - it genuinely feels like all the best parts of falling in love.

                    The album's opener "Stay, I'm Changed" is much more than just a track that happens to come first; it genuinely opens the album, setting the tone and enticing the listener in to the self-contained world within. From its initially tentative, horn-like synths, it gradually grows in urgency, drama and emotional depth.

                    Second single "She Sleeps" is the only vocal track on the album, featuring a brilliant, haunting turn from the Friendly Fires' Ed Macfarlane. The pair bonded over a shared love for garage music, (ironically, garage being the sound Falty has moved away from on the album.) The collaboration feels instinctive and inspired, two minds meeting to make a song with a purity and vulnerability not often found in electronic music.

                    "Finally Some Shit / The Rain Stopped" feels like the blues lifting. Its pattering drums bring to mind rain against a windowpane, the driving bassline is like renewed resolve captured in music. "Hardcourage" is about 'when things are in Limbo and having the courage to carry on,' says Lustman, and nowhere is that more in evidence than here.

                    The album’s first single "Straight & Arrow" summarises the musical direction Lustman has taken with "Hardcourage". His move away from a US take on garage has resulted in a masterful brand of atmospheric, soul-drenched house and electronica. As you'd expect, Falty has applied as much vision to the album's close as he has its beginning. "Bells" has a strong claim to be electronica's greatest love song. Like the clouds parting, the heart leaping, the world seeming to chime with happiness, it's the perfect end to the perfect declaration of love.

                    TRACK LISTING

                    Stay I'm Changed
                    She Sleeps (Feat. Ed Macfarlane)
                    Straight & Arrow
                    Uncea
                    For Karme
                    Finally Some Shit / The Rain Stopped
                    Kenny Rolls
                    Korban Dallas
                    Reassimilate
                    Bells

                    Lukid

                    Lonely At The Top

                      Lukid's new album is really the story of a young man coming to terms with himself and his own idiosyncrasies and contradictions. Lukid has stopped trying to explain things; there are no real genre signposts here, and no trying to fit in with anyone else’s expectations.

                      On 'Lonely At The Top' we hear Lukid pooling together elements from his varied back-catalogue to create something that manages to sound like nothing he’s done before. We get glimpses of the raw anger displayed on his GLUM releases, of the ecstatic and psychedelic pop he makes with Simon Lord as Arclight, of his recent brooding score for the documentary Personal Best, and of his sunnier early releases on Werk, but it’s all assembled with a new voice and a new intent. Whatever has happened in Lukid’s life over the last few years, with the carefully constructed narrative arc of 'Lonely At The Top' he gives the impression of a story of catharsis and redemption.

                      Lukid does this with such singularity, only increasing with each release, that you wonder why he isn’t officially a national treasure yet. If you see him sitting on a wall, his little face turned towards the sun, swinging his legs and humming to himself, stop and give him a thumbs up. It's lonely at the top.


                      "Hexagonal crystals have a unique directionality," says Slugabed, "which must be aligned and oriented with Earth's spin axis for every crystal in the inner core." This idea led him to try a computational experiment. If all the crystals must point in the same direction, why not one big crystal?

                      Could an iron ball 1,500 miles across be a single crystal? Unheard of until now, the idea has prompted realisation that the temperature-pressure extremes of the inner core offer ideal conditions for crystal growth. Slugabed's high-pressure laboratories have conducted numerous experiments to test these theories.

                      The article "Time Team" is a concise documentation of these experiments.

                      Greg Feldwick is 23 years old and from Bath. He makes noises as Slugabed. His first releases were on Stuff, Ramp and then Planet Mu but now he is signed to the mothership, Ninja Tune. His music is suffused with a unique mix of humour, next level production, dancefloor smarts and melancholic emotion. “Time Team” is his debut album and we think it’s a belter. The album opens with “New Worlds", a heroic trudge across a vast space landscape, followed by the single “Sex”, a place of wildly suggestive synth squelch. He then takes us deeper, delving into the disembodied anime of “All This Time” and on to “Moonbeam Rider” which combines digital lyncanthropy with a kind of deep funk groove that ought to come with a warning label. Along with the nervous squeals of "Travel Sweets" and the widescreen spangling of “Unicorn Suplex” this is a record that evokes a very particular, very peculiar, but never less than beautiful worldview. An album highlight is “Mountains Come of The Sky”, which has a wonderful rolling rhythm and uplifting vocal, whilst the synth melody goes stratospheric at the mid-point. “Grandma Paints Nice,” distills yet more warmth and emotion from supposedly synthetic sounds, and “Climbing A Tree” sounds like the slow and wonderful death of a computer clinging on to its last, implanted false memory. Crowning the album, electro jam "Earth Claps" takes you on a field trip to the very core of the earth, melts you down and spits you out of a volcano. Lastly, the mood of dislocated melancholy is pushed almost to a nervous breakdown on the closing track “It’s When The Future Falls Plop On Your Head”.

                      Asked to explain “Time Team,” Feldwick responds that “it's to do with deep feelings about mostly inexpressible things.” It is indeed an album full of feeling and warmth and humor, a remarkable feat for a record composed mainly on synthesisers and drum machines. You will be hearing a lot more of Slugabed.

                      Something witty about crystals or whatever nonsense we were banging on about earlier.


                      TRACK LISTING

                      1. New Worlds
                      2. Sex
                      3. All This Time
                      4. Moonbeam Rider
                      5. Travel Sweets
                      6. Unicorn Suplex
                      7. Dragon Drums See All 2
                      8. Mountains Come Out Of The Sky
                      9. Grandma Paints Nice
                      10. Climbing A Tree
                      11. Earth Claps
                      12. It's When The Future Falls Plop On Your Head

                      In early 2011 Luke Vibert told Ninja Tune that he had just found some long-lost never heard before DATs dated 1995-1998 and titled "Back On Time".

                      In 1996 Blue Angel Recordings an offshoot of the legendary Rising High label released the "Drum & Bass For Papa" album by Plug AKA West Country king of kitschtronica Luke Vibert, whom at that time had only released under his Wagon Christ moniker. The album remains to this day one of the acclaimed records to emerge from the buoyant and hugely influential electronic scene of the south-west in the 90s. Alongside people like Aphex Twin and Tom Middleton, Vibert filled cassettes with new tunes, hijacked the pirates and revelled in all that was original, twisted and like nothing else before.

                      So a few years later and somewhat ahead of the curve, Vibert shook up D&B. Avant-jungle that wasn't made for the 'club', the album was an eccentric bolt from the blue, it shocked many of Vibert's contemporaries but went on to influence many, most notably Squarepusher.

                      Until now Plug has yielded just one album - possibly only a humble man like Luke Vibert would have a whole album of top-quality electronic tracks just sat around for over 15 years and not release them. The 10 tracks on offer here include the proto-garage vocal stylings of "Feeling So Special", the demented circus-organs of "No Reality", the hilariously titled "Come On My Skeleton", the old-skool rinse out of "Mind Bending", the skewed bollywoodisms of "A Quick Plug for A New Shot" and all with impeccably produced jungle credentials as the bed.

                      Sounding brand new as well as being a lost classic from a electronic icon, "Back On Time" is a release that anybody interested in the progression of dance music should be very curious to hear and enjoy.


                      Loka

                      Passing Place

                        Loka, Ninja Tune's cult psychedelicists, purveyors of cinematic music that disturbs and troubles and intrigues rather than comforts, return with a new album, Passing Place. With many acts finding considerable critical acclaim in the music world right now through adventures in the outer reaches of psychedelia / jazz / classical, it's worth remembering that Loka have been ploughing this field with stunning results ever since their debut track on Ninja Tune's 10th birthday compilation "Xen Cuts" in 2000 when they emerged from the same fertile alt-Liverpool scene as Pop Levi, Zukanican and Super Numeri. The debut album proper was Fire Shepherds in 2006. Since that album, co-founder Karl Webb left Loka, leaving Mark Kyriacou to carry the banner. Mark re-grouped with members of the live Loka band and went about sketching out ideas later to become "Passing Place"… The result is their most confident and cinematic album yet. Less claustrophobic and inward than before, the new album has a wide-screen, rolling hills vista feel to it. It is an album seeped in reflection, but containing a wide-eyed thinking of the days to come. Welcome to the timeless world of Loka.


                        Drew Lustman aka FaltyDL releases his debut EP with Ninja Tune and it’s an absolute cracker. Over its four tracks he shows the range and grasp of rhythm, atmosphere and melody which have made him one of the most exciting producers in electronic music right now.

                        Title track “Atlantis” is distinguished by a complex, swinging, relentlessly danceable beat, unfeasibly low bass hits and a melancholic tune which sits somewhere between Four Tet and classic rave. “Can’t Stop The Prophet” shows the DNA of Wagon Christ (an early influence) spliced with the sonics of post-dubstep and the restless energy of an ADHD toddler, ending with a first-love junglist wig-out. “My Light, My Love”, seemingly sampled and built out of the sonic spaces between notes and beats, is perhaps the deepest moment on an incredible EP, while “The Sale Ends” takes us once more back to the skipping feel of a fractured, interplanetary 2-step.

                        FaltyDL is one of the hottest names in electronic music right now and the Atlantis EP shows why. Immersed in the old New York and Chicago sound yet creating a more subtle and ultimately futuristic mash-up of influences, Lustman takes his influences and makes them fresh. The sometime sushi-chef and now New York resident has been turning heads since 2008, when Mike Paradinas signed his US-ified versions of UK garage to Planet Mu and released it on an unsuspecting world. Since then, Lustman has looked to expand and evolve his signature sound over two albums, an EP and three singles for the label. In addition, he has released an Afro-beat-inspired 12”, "Mean Streets Pt 1" with Loefah’s Swamp81 label, a single on Ramp backed with a remix from Jamie XX, plus remixes of his own for the likes of Mount Kimbie, The XX, Scuba, Photek, Anthony Shake Shakir and others.


                        TRACK LISTING

                        1. Atlantis
                        2. Can't Stop The Prophet
                        3. My Light, My Love
                        4. The Sale Ends

                        Fink

                        Perfect Darkness

                          Mention Fink and you surprisingly get one of two reactions: head-scratching non-familiarity; or the impassioned response that prompts artists such as John Legend and Professor Green to wax lyrical about him live on air. It is a remarkable void, one which looks set to finally close upon the release of Fink’s latest studio album 'Perfect Darkness'.

                          As Fink explains, "Singer-songwriters always get criticised – fairly – for sometimes sounding like a scratched record… Moaning about this, moaning about that, girlfriend’s left you, blah blah, blah. With Fink we do sing about relationships and love and emotions - but we also sing about other stuff: embracing fear, Berlin dawns, looking forward."

                          A smouldering, pulsating, and purposeful book of songs, 'Perfect Darkness' bristles with tense passion and hypnotic charm. It is, in two words, bewitching and addictive. Judging by this new record he is set to emerge into the bright lights of long-deserved mass recognition.


                          Tune-Yards

                          W H O K I L L

                            "w h o k i l l", the sophomore album by Merrill Garbus’ tUnE-yArDs, is a thrill for fans of the live show that left most stunned in 2010. No longer is her artful songwriting and soulful voice obscured by digital fuzz as it often was on her solo debut, "BiRd-BrAiNs". Transplanting herself from Montreal to sunny Oakland, California, while touring almost non-stop for over two years, Merrill has stripped tune-yards away to a more precise, concentrated and vivid sound. "w h o k i l l" retains the honesty of the lonely bedroom confessional characteristic of her early work, but with the addition of the fangs, claws and dented metal of its new surroundings.

                            As before, tUnE-yArDs grounds its sound in tangible, instantly gratifying techniques. Neither digital magic trickery nor auto-tuned dazzle need be applied; tUnE-yArDs’ music is made by human hands and possessed of a distinctly human touch. This is music created piecemeal, smashed apart wholly, then reassembled tenderly, gaining complexity as the layers stack up.

                            Applying the tune-yards live approach to her studio work for the first time in "w h o k i l l", her tools have not changed. Rather, she’s added more buttons and joints to those already being used - one essential new joint is dexterous bass member Nate Brenner, who co-wrote a few songs. The opportunities exploited are evident in "w h o k i l l"’s dynamic range, as it matches Garbus’ creative strides. There’s no substitute for a good microphone, and the sonic nuances that can only be achieved through masterful recording techniques — producer Garbus and engineer Eli Crews are to be thanked — can be heard in each drumbeat and vocal line. Take "Powa", a song whose immense, undulating strength emanates from little more than a repeating ukulele line, artfully-placed bass and percussive backbeat, complimented by Garbus’ soaring and melodic vocal delivery.

                            And can we take a second to thank the good Lord above for giving us a voice like Garbus? From a croon to a shriek to a rap to a hum, the vocal gymnastics of tune-yards’ songs remain front and center. Now, add a beat, one full of soul and swing and wonderful imperfection. That voice infiltrates your mind, shoots down your legs and converts any ground into a dance floor. "Bizness" takes this approach to the extreme, starting with the sung imitation of a xylophone roll, then building in a raucous style until the searing and commanding chorus takes control.

                            Yet it would vastly underplay "w h o k i l l" to view it as simply a get-your-groove-on party-bringer. Take for example "Doorstep", which melts the usually blasting tune-yards style into a stunning and smooth doo-wop R&B. Then there’s the environment in which it was conceived: Oakland’s particular landscapes serve as primer for what you hear on the album. The city’s unique vitality, a nest of vibrancy and danger, is what fuels the brightness of "w h o k i l l". The sound scraps and samples that characterized "BiRd-BrAiNs" remain as well, placing Merrill on the very soil where these songs grew to full size.

                            So here we have it. A remarkable record, from a creative force so strong and focused, "w h o k i l l" practically jumps out of its shoes.

                            Igor Boxx

                            Breslau

                              Igor Boxx known also as Igor Pudlo (from Ninja Tune's Polish act Skalpel) is opening a new decade with his first solo album, "Breslau". For Igor's solo debut album, the inspiration comes like before from his home country and his home town.

                              "Breslau" tells a tale of 1945 siege of Festung Breslau undertaken by the Red Army. This journey is musically so emotional and powerful that it allows anyone to follow the story behind the track. Sounds are used to depict the massive force and fury of bolsheviks' attack and the determination of the terrorized civil population of the city to hold on. Krautrock grinding illustrates the monotony of the endless battle, psychodelic ornaments underline the absurd of wartime madness, jazz rhythms sound off the chaos on both sides of the conflict whilst ambient timelessness paints the overwhelming desperation of city defenders' efforts. The live version is more dynamic than the studio version describing the atmosphere of the last group of terrified citizens of Breslau whose dramatic faith is drummed out by Stalin's organs. The dance macabre in the ruins of burning, doomed city will be explosive.


                              Bonobo

                              Black Sands

                                Simon Green aka Bonobo returns with his fourth, most eagerly-anticipated and most accomplished album to date, the magnificent "Black Sands". Green proves once and for all with "Black Sands" that he is an artist and producer with his sights set on much higher prizes than to rule any dusty sub-genre of dance music. Green's mix of beats and breaks (from the mellowest downbeats, via jazz breaks to UK garage style grooves and Afro-tinted jauntiness) with a melodic sensibility make for a great listen. This is a record of epic reach and massive emotional pull, all held together by Green's understanding of composition and arrangement of live instruments (most of them also played by him) as well as his complete mastery of the tricks and techniques of the digital age. "Black Sands" is the most contemporary record he has ever made.

                                Mr Scruff

                                Keep It Unreal - 10th Anniversary Edition

                                  Scruff's debut for Ninja Tune, and it's just one of those essential LPs for fans of quirky, jazzy upbeat downbeat grooves. Includes the massive trad-jazz-house anthem (and advert favourite) "Get A Move On", as well as "Honeydew", "Jus Jus" with Roots Manuva and the silly "Shanty Town" and "Fish".

                                  "Ninja Tuna" sees the triumphant aquatic-themed return of the reigning yet uncrowned world champion of fish-related cheekiness. Yes, Mr Scruff is back with a long player that's packed with pure funky loveliness from start to finish. The set opens with b-boy hip hop cut "Test The Sound" before heading straight into current single "Music Takes Me Up" featuring Alice Russell ("Donkey Ride" and "Kalimba" also feature), while other special guests include Roots Manuva, Quantic and Andreya Triana. As ever with a Scruff long player we get a nice mix of wobbly bass, funky breaks, jazzy grooves and soulful touches - sometimes all in the same song!

                                  The Cinematic Orchestra

                                  Live At Royal Albert Hall

                                    On November 2nd 2007, Jason Swinscoe brought an enhanced line-up of the The Cinematic Orchestra, incorporating the 24 piece Heritage Orchestra, to the Royal Albert Hall and played a show to a sold-out crowd of more than 4000 people. With over 40 musicians onstage at times, Swinscoe and his colleagues used the show as a unique opportunity to open out his chamber pieces into intense, beautiful and exquisitely realised epics which left the huge audience baying for more. Featuring vocal contributions from Heidi Vogel, Lou Rhodes (formerly of Lamb) and Grey Reverend, plus the return of original member PC on turntables, an intense, beautiful night is captured here in all its glory. History as it's lived, human emotion, love and rapture. You can feel it in the hairs on the back of your neck.

                                    The Herbaliser

                                    Take London

                                      Over the last decade, The Herbaliser's Jake Wherry and Ollie Teeba have established themselves as one of the most innovative and reliable production duos to come out of the UK hip hop scene. This has been achieved, in part, by the kind of constant self-improvement which makes "Take London" their best album yet. You can hear it on the instrumental tracks on the record – the tender, angry "Song For Mary", electro-funk influenced "Gadget Funk", wah-guitared space funk of "Kittynapper" or chase scene jazz of "Geddim'" - where attention to detail and love of sixties soundtracks and library music are all mixed up with a dose of geezer front and b-boy charisma. Of course, The Herbaliser have also always had an eye for a killer vocal guest. Jean Grae (formerly known as What What) has been a long-time collaborator and here she contributes to four tracks, including the storming posse cut "Generals", "Twice Around" and moving "If You Close Your Eyes". The UK end is held up by Nottingham's Cappo (who has released material through Son and Zebra Traffic) and the one and only Roots Manuva. Then, just to finish off – and perhaps remind people how broad the duo's tastes are - there's a scintillating tribute to Serge Gainsbourg, "Serge", with a monologue from Katerine.

                                      The Herbaliser

                                      Something Wicked This Way Comes

                                        Combining live playing by the Easy Access Orchestra, studio trickery by Jake & Ollie with guest vocals from Dilated Peoples, MF Doom, Blade, Wildflower and Phi Life Cipher, this is a cinemtic hip hop tour de force!

                                        The Cinematic Orchestra

                                        Man With A Movie Camera

                                          Originally written for a one off live performance to accompany Dziga Vertov's classic 1929 Russian silent film 'Man With A Movie Camera', some of these tracks ("Evolution", "All Things"), and their 70s free-jazz inspired style went on to become the backbone of the "Everyday" sessions. Finally J Swinscoe and Co have gone into the studio and recorded the tracks (live) for this proper soundtrack LP.

                                          Coldcut

                                          Sound Mirrors

                                            In "Sound Mirrors" Coldcut have made the best album of their long and illustrious career. Their production has never sounded better, their ideas have never been more varied or more interesting, they've never had such a great cast of guests and then integrated them into their sound so well. Dancehall-hip hop cut "True Skool" features Roots Manuva adding vocal weight, while the electroclash-edged "Just For The Kick" has eerie words from legendary singer-songwriter Annette Peacock. "Walk A Mile In My Shoes" features the legendary Robert Owens on an epic, building, hands in the air tune, while "Mr Nichols" combines a beautifully subtle piece of music with a superb, deadpan piece of writing from Saul Williams. Former Ninja Andrew Broder, aka Fog, offers wonky, melancholy lyrics over a faltering kitchen sink orchestra backing on "Whistle And A Prayer" and so it carries on, with the likes of Mpho Skeef, Dom Spitzer and Black American poet Amiri Baraka guest spotting later on.

                                            Fink

                                            Biscuits For Breakfast

                                              After the critical acclaim which has met Fink's two singles, "Pretty Little Thing" and "So Long", now it's time for the full length, "Biscuits For Breakfast". Completely recorded at his 7Dials studio in Brighton and already drawing comparisons to the mighty John Martyn, the album is a highly personal, beautifully executed journey into folk, blues, soul and dub overtones that sees the former dowbeat beatsman reinvent himself in a way that's more akin to a religious conversion than normal record company 'change of haircut' practice. From the very opening of the record Fink shows that his lyrical pre-occupations are very much his own. While he touches on themes which are in themselves familiar - love, sex, loss, bad jobs, the ephemera of everyday life - he treats them with such an attention to detail and to his own genuine feelings that they fly. Beautifully produced, achingly soulful, "Biscuits For Breakfast" is an album that will stand the test of time, because at root it's built on original, honest song-writing.

                                              Coldcut

                                              Sound Mirrors - Videos & Remixes

                                                Stunning collection of videos and remixes for the "Sound Mirrors" album, with a beautifully designed DVD menu and 32 page booklet packaged in a DVD box. Coldcut have always been fascinated with the fusion of sound and vision and so the idea of them curating a DVD version of "Sound Mirrors" (their recent critically acclaimed album) is a fitting one. In collaboration with freelance music video commissioner Vez they set about taking the medium of the music video out of the realm of MTV and the cheesy promo, instead making the work a purely artistic expression of the music, in a move that takes the director out of the realm of painter for hire and gives them the creative recognition they so hugely deserve, not only in the creative brief but in how they are presented on the DVD and that their fee is an advance against royalties for their work - the same as if they were a guest musician - an exciting and bold move. As well as the DVD you also get a CD collection of remixes of tracks from the LP.

                                                Kid Koala

                                                Your Mom's Favourite DJ

                                                  Although there is the romance, silent movie comedy and a certain amount of swing on "Your Mom's Favourite DJ", the enthralling deftness and complexity you'd expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars. Looking back to the seminal "Scratchcratchratchatch" cassette of a decade ago, the album also hints at the many projects Mr San has to come. There are references throughout to a book about a clarinet-playing mosquito that Eric is currently working on, also to the musical puppet show he has in development (honest).

                                                  Coldcut Feat. Robert Owens

                                                  Walk A Mile In My Shoes (Timo Garcia & The Cheshire Catz / Tom Belton Remixes)

                                                    This second set of "Walk A Mile In My Shoes" remixes are also on a house tip, but head straight to the main room of the club. First up is Timo Garcia & The Cheshire Catz (of Berwick Street Records "Into The Light" fame - big with Pete Tong) version on a hypnotic electrohouse tip, mostly instrumental but with a couple of vocal breakdowns. On the flip things go funky disco-house with Tom Belton's rework.

                                                    The Cinematic Orchestra

                                                    Remixes 98-2000

                                                      Collects together all their remixes of other people! Lush cinematic nu lounge / jazz surround sounds.

                                                      Dwight Trible & The Life Force Trio

                                                      Love Is The Answer

                                                        Over a remarkable career, this Los Angeles native has worked with everyone from Bobby Hutcherson and Charles Lloyd to Harry Belafonte. He is the vocalist with the Pharaoh Sanders Quartet and also the vocal director for the Horace Tapscott Pan Afrikan Peoples Arkestra, a Los Angeles institution with a history stretching back forty years and an active engagement in the city's Black community since the Watts Uprising. Enthused by the power of Trible's vision, Carlos Nino (one half of AmmonContact) started speaking to the new luminaries of the LA scene about collaborating with this elder statesman and before he knew it he had an album which combined sixties-inspired avant / spiritual jazz with the hottest beats the city had to offer. Sa-Ra Creative Partners, Madlib, Daedelus, members of Platinum Pied Pipers, Jay-Dee - wherever he went, Nino found only enthusiasm, and the project began to take shape. From "Equipoise", on which Sa-Ra revisit 80s synth funk and give it their signature loping twist, through "Freedom Dance" with its Stetsasonic-meets-Fela vibe, on into the sheer oddness of the Madlib-produced "Waves of Infinite Harmony", the more straight-up boombap of "The Tenth Jewel", and finally through a last third that probably peaks with the incantatory "Musician's Union" (by Ammoncontact) and the beautiful "Constellations" (which grew out of a piano loop contributed by Prefuse 73's Scott Herren to the Piano Overlord project), this is a record of pure sonic invention and all round goodness.

                                                        Various Artists

                                                        Solid Steel Presents DJ Kentaro

                                                          Ninja Tune were introduced to the work of DJ Kentaro through his success at the 2002 DMC World finals where the Japanese turntablist won outright to become World Champion with a set of pure innovation using not just hip hop, but also reggae, drum & bass, house and electro, in the process achieving the highest score ever in a DMC Final. As such he seemed the perfect DJ to choose to produce a mix of the Ninja back catalogue for the Japanese market. A box full of vinyl and CDs was sent off to him and he began piecing together a selection from Jaga, Wagon Christ, DJ Food, Coldcut, Pest, Funki Porcini, Herbaliser and DJ Vadim to create a truly masterful mix. The CD came out in Japan in December 2004 and has since sold 15,000 copies in the territory. However, word of Kentaro's lightning skills spread way beyond Japan and it was decided it was time to share his talents with the world. To this end, a DVD was commissioned which showcases much of what is special about Kentaro. A mixture of live footage and animation (some of it 'visuscratched' by Kentaro himself), this selection of short films will appeal to the turntablist community but, as you'd expect, would also work well as audiovisual fodder for any party.

                                                          Bonobo

                                                          Dial M For Monkey

                                                            Second LP from Brighton's Simon Green (ex of Tru Thoughts, now on Ninja Tune), and it's an absolute gem. He ploughs a similar melodic, semi-acoustic furrow to Lemon Jelly, but with more of a jazz edge, and none of the increasingly annoying whimsy that that duo employ in their music. A perfect mellow, gentle sound-of-the-summer LP.

                                                            Skalpel

                                                            Konfusion

                                                              The Polish DJ duo aim to 'Resurrect the dusty and smoky spirit of '60s and '70s Polish Jazz and then re-imagine it for 21st century audiophiles'. This period in Polish history was deeply Communist and jazz presented a different reality and an emotional escape. From "Shivers", which does exactly what it says on the tin, on into the double bass-driven "Long Distance Call", the wah-trumpeted, heavy riffing "Test Drive", the funkiest drumming of the title-track and cut up torch song aesthetic of "Deep Breath", this is a record brimming with ideas, with atmosphere, with the kind of intelligent cut and paste that makes it an artform instead of a form of theft.

                                                              At last, Mr Scruff's 1997 self-titled (although often referred to as "Mrs Cruff") debut album gets re-issued! It's a fantastic collection of instrumental tracks indelibly marked with Scruff's sampladelic cheekiness and fat, deep BASS heavyness. Opening with the soundsystem-like "Sea Mammal", the album works its way through head-nodding hip hop breakers like "Bass Baby" and "Bonce", via the warm jazz moods of "Jazz Potato" and "Night Time" to the funky jazz-breaking "Crisps" and club smash "Chicken In A Box", setting out a statement of intent (fun, funky and fat) for all his future tracks. A welcome return of this northwest classic, I remember obsessing about Scruff early on in my music discovery and I'm proud to see after just over twenty years I wasn't wrong! - this still sound mega today! (not something that can be said about all of Matt's furtive musical steps... - ed).

                                                              TRACK LISTING

                                                              A. Sea Mammal 8:18
                                                              B1. Bass Baby 5:54
                                                              B2. Limbic Funk 5:28
                                                              C. Chicken In A Box 8:24
                                                              D1. Jazz Potato 6:03
                                                              D2. Bonce 4:58
                                                              E1. Night Time 5:58
                                                              E2. After Time 2:30
                                                              F. Crisps 6:25

                                                              Skalpel

                                                              Skalpel

                                                                Debut LP from the Polish duo of Marcin Cichy and Igor Pudlo, who, although acclaimed at home, have remained virtually unknown outside their national boundaries. Brought to the attention of Ninja Tune by DJ Vadim, they now reach a deserved wider audience. Drawing on their Eastern European jazz herritage, they update the sound with complex beat making and sometimes playful sample based themes.

                                                                Blockhead

                                                                Music By Cavelight

                                                                  The debut album from New Yorker, Blockhead, who's had production credits for the likes of Aesop Rock and Slug of Atmosphere. From the anti-fanfare of opener "Insomniac Olympics", through the elegaic strings and slomo disco-bass of "Carnivores Unite" on into the two-minutes-to-midnight atmospherics of "You've Got Maelstrom", the spread out reggaephonics of "A Better Place", and right on up to the flute and eastern violin anomie of title track "Music By Cavelight", this is a record that establishes its own emotional space and holds it from start to finish. A sublime slice of avant hip hop.

                                                                  Hint

                                                                  Portakabin Fever

                                                                    Debut LP from Hint, vhe purveyor of pural beat! Musically, this LP cimbines simple hkp hop / downbeat / loose jazzy feats with lovely little acoustig guitar loops, qmokey lounge ja~z strings and other quirky samples. If you like Lemon Jelly, yow'll love this!

                                                                    The Cinematic Orchestra

                                                                    Every Day

                                                                      Mind blowing second LP (i'm not including the remixes set) from J Swinscoe and Co. They're joined on three tracks by vocalists Fontella Bass and Roots Manuva, the other four are lush sweeping fusions of 70s style cosmic jazz, dreamy downbeat and nu-jazz. Very special... definitely one of the LPs of 2002!

                                                                      Mr Scruff

                                                                      Keep It Unreal

                                                                        Scruff's debut for Ninja Tune, and it's just one of those essential LPs for fans of quirky, jazzy upbeat downbeat grooves. Includes the massive trad-jazz-house anthem (and advert favourite) "Get A Move On", as well as "Honeydew", "Jus Jus" with Roots Manuva and the silly "Shanty Town" and "Fish".

                                                                        A product of post-acid house Manchester, Mr Scruff is a complete one-off; a cheeky innovator. His debut album is a bold statement, distinctive and confident. "Keep It Unreal" oscillates wildly between opposing styles - one moment Scruff's in deep, down-tempo dinner jazz territory, the next he's in Coldcut mode, chopping out superb big beat breaks with naughty hooklines to get you pogoing. At one extreme is the wacko humour of Spandex Man, bolshi breakbeat and a hooky 1920s jazz loop that'll make you grin. And then there's the even more ridiculous "Shanty Town", with samples of a Jacknory story about a whale. At the other end of the scale, is Scruff's accomplished acid jazz - like the serene, trip-hoppy "Midnight Feast" or the smoothie cocktail number "Honeydew", with it's loungey female vocals. This man is out there, the Salvador Dali of beats and breaks.

                                                                        TRACK LISTING

                                                                        1. Is He Ready..... Feat. Mary Ann Hobbs 'The Breeze Blocks'
                                                                        2. Spandex Man
                                                                        3. Get A Move On
                                                                        4. MIdnight Feast
                                                                        5. Honeydew
                                                                        6. Cheeky
                                                                        7. So Long
                                                                        8. Chipmunk
                                                                        9. So You Hear?
                                                                        10. Shanty Town
                                                                        11. Jus Jus Feat. Roots Manuva
                                                                        12. Blackpool Roll
                                                                        13. Travelogue
                                                                        14. Fish


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