Vinyl, CD & Tape 111274 Items

Vinyl has a few hairlines, close to NM!

What a great combination – Chopped Herring's own Brooklyn kids, Penpals meet the incredible production skills of Scots duo Slipmat Brothers aka Jazz Spastiks on the new album “Made For The Underground”- a match made in true Underground Hip Hop heaven!!! All you can expect will be nothing but the finest and dopest vocals straight outta Brooklyn paired with dusty and jazzy beats from the Jazz Spastiks vaults.

Special limited edition of 250 copies!

vinyl is Close to VG+

White labels

Visionär, revolutionär, legendär zu keinem anderen Mcee in Deutschland passen diese Attribute besser als zu Kool Savas. Ob ausverkaufte Tourneen, Gold- und Platinauszeichnung oder drei Nummer-1-Alben in Folge: Das sind nur einige Höhepunkte dieser einzigartigen Karriere. Die Vorhersage ist eingetroffen Savas hat Battlerap in Deutschland zum Leben erweckt. Doch sein Weg ist noch lange nicht zu Ende.
Mit Essahdamus wird nun die nächste Prophezeiung wahr. Auf 18 Tracks, angereichert durch Skits, Acapellas, Beatskizzen und anderen Überraschungen, liefert Deutschlands Eins abermals ein Mixtape ab, dessen Qualität ein bis dato unerreichtes Level erreicht. Wer die John Bello-Reihe mochte, wird das kommende Werk lieben. Keine Lückenfüller, keine Kompromisse dafür Vollgas in bester Essah-Manier. Kurz gesagt: Kein Zuckerschlecken für den Rest von Hiphop-Deutschland. Emo-Rapper werden ihr Leben nach Essahdamus noch mehr hassen, Hater bekommen Depressionen und Biter neues Futter. Denn damals wie heute gilt: In Sachen Flow, Stimme, Technik ist Kool Savas seiner Zeit voraus. Essahdamus beweist diese Dominanz in beeindruckender Form. Kein Imagekram, kein Pathosgehabe Fans dürfen sich auf reinsten Rap in Perfektion freuen.
Dem Rap-Orakel Savas steht dabei die Crème de la Crème der deutschen Raplandschaft zur Seite. Ob Pioniere wie Azad und Samy Deluxe oder Berliner Legenden wie Sido auf Essahdamus gibt sich ausschließlich die Elite die Ehre. Doch Savas wäre nicht Savas hätte er nicht ein ganz besonderes Dankeschön für seine langjährigen Fans in Petto. Eine kleine Zeitreise in die Vergangenheit steht auf dem Programm und vereint erstmalig wieder die gesamte legendäre Berliner Crew M.O.R. auf einem Song. Essahdamus steht für Geschichte.
Für den passenden Sound sorgen unter anderem DJ Smoove und Abaz. Doch auch Mr. Melodie selbst sitzt wieder hinter den Reglern, um der musikalischen Eingebung den nötigen Feinschliff zu verpassen.

There is no brash egotism at play here, just a rough-and-ready honesty which permeates in what these three guys do. Their songs haven't washed in weeks, far too busy spinning crackling Budgie vinyls, knackered Motörhead live albums played at a sluggish RPM, and snorting self-inflammatories to do anything hygienic.

Close to NM.

Following the success of their 4th album ‘Malamore’ released in April this year, French duo The Limiñanas have now trusted London star DJ, producer and friend Andrew Weatherall to remix the flagship single Garden Of Love (feat. Peter Hook). The collaboration has resulted in two unique remixes. “When we released “Je Ne Suis Pas Très Drogue” in 2009, Andrew played it in his radio show in London. Then Bernie Fabre contacted me because Andrew wanted us to play in his festival De La City A La Cité in Carcassone. That’s how we met. When we worked with Peter Hook, the idea of a maxi with one or two remixes made sense. So we did this record with the original edit of “Garden Of Love” and two remix edits by Andrew Weatherall.” - Lionel Limiñana

Big Crown Records presents the second single “Smiling” from Lady Wray’s “Queen Alone” album. The single is an instant feel good anthem, “Smiling” finds Lady Wray reminding us to keep our heads up and keep a smile on our faces through whatever life deals us. With production from Leon Michels and Thomas Brenneck that rides the line between bubblegum pop and lo fi tough grit, Nicole lays out with a voice as encouraging as the lyrics she is singing. Listeners will be hard pressed not to find themselves singing along after the first listen. A proper good vibe tune guaranteed to move dance floors the world over. The B-side “Make Me Over” is a lushly scored tale of letting your guard down and letting the one who loves you take care of you when you are down and out. A relatable tale of having expensive taste and empty pockets, Nicole finds herself asking for a little help so she can get a break from being strapped for cash promising to take care of her man as soon as her check comes in.

With Day Out of Days, Scratch Massive has made a modern electronic album, perfectly at ease with the influence of pop, as a way to revisit and reexamine its clichés, its stylistic effects, and the hungry nostalgia for the 1980s.

This release comes on 140g vinyl. Utopus is Ion D's project that deals with tehno heresies, not-minimal and fragmented melancholy. Ion D is the ubiquitous main-character of Future Nuggets standing as a producer behind many entities like Steaua de Mare, Raze de Soare, Australopitecus Oltensis, co-producing Delusion Men and appearing under different cameos in both volumes "Sound of the Unheard from Romania". On P-Balans imprint Utopus will endevour with club-oriented laboratory work, keeping intact the "delics" of each genre compressed in the amalgan. Set yourselves up for some balanced grooves augmented by unfinished melodies, abstract dramaturgy and very serious tehnodelic motors.

Gatefold cover is close to NM! Vinyl shows scuffs and a few hairlines.

Finally Chopped Herring releases some of the dopest Don Producci instrumental productions. If you’re not familiar with the name yet, you might be familiar with his great beats, which he already supplied for the likes as Meyhem Lauren & Action Bronson on “Welcome To The Great Outdoors EP” and Meyhem Lauren for “The Total Meyhem EP”. So these beats are nothing but sure shot instrumentals.

Red vinyl.

Original US Speciality pressing.

On this great compilation you’ll find 16 early vocal & jazzy tunes from the Golden Age of Jive & Kwela in South Africa. All released originally on fragile shellac discs only, which is a very delicate material but the music survived thanks to the archives of ILAM. A truly great source of South African music is being preserved here for new generations, to inspire young and hopeful musicians and singers from all over the world. These treasures of musical genius were recorded in the glory years of Jive and Kwela, the years 1940-1965.
On side A it is not very difficult to recognize the similarities to American popular music like R&B and small combo close harmony singing. But most of all notice that typical South African swing, that Jive, that incredible smooth form of African Jazz on side B; Kwela!

The rarest and most treasured finds are collected here, some with the original spoken intros, ‘sketches’ as these were called. Characteristic conversations between the musicians, often in a humoristic slang, always extremely funny. The record is pressed to 180gram vinyl.

A-F-R-O is a breakthrough artist born and raised in Los Angeles, CA, who was first discovered by legendary rapper, R.A. The Rugged Man. Marco Polo is a Brooklyn based producer, raised in Toronto, Canada, who has produced music for artists such as Talib Kweli, Pharoahe Monch, Boot Camp Clik, Royce Da 5’9 & more.

Vinylwith a few hairlines. Sticker on label. Cover with open seam split on top spine and shelf wear.

From his studio in central Bobo-Dioulasso, photographer Sory Sanlé documented a nation’s transformation from colonial foothold to cosmopolitan oasis. Bobo Yeye: Belle Epoque in Upper Volta provides an intimate look into the landlocked nation’s pop culture explosion of the 1970s. A melange of community elders and emboldened youth spill from the brightly lit confines of Sanlé’s Volta Photo into the dimly lit nightclubs of Upper Volta’s cultural capital. Accompanying this hardbound monograph are dozens of rare and evocative recordings spread over three discs by Bobo-Dioulasso’s musical titans: Volta Jazz, Dafra Star, Echo Del Africa, and Les Imbattables Léopards.

US original. Winchester Pressing.

Record with hairlines and superficial scratches sounds better than it looks, close to VG. Minor stains of the front cover.

Cover is close to NM!

US original.

Record with a superficial scuff on side one is close to near mint.
Cover with tiny corner cut.

Seductive Fruity Beanpole Workouts

“Live At The Hollywood Bowl” shows the great and magic atmosphere of the band’s sold out concerts in the Hollywood Bowl from the years 1964 and 1965. This is the first ever vinyl release of the material. The records are pressed on 180g vinyl and will be housed in a beautiful gatefold cover.

Using the word ‘mature’ to describe a band’s new album is often a euphemism for a record devoid of the ideas or spirit that made them interesting in the first place. Bassist Jenny Lee Lindberg has labelled Warpaint’s third album exactly that, but there’s no need to panic: these LA ladies have broken with tradition and made a ‘mature’ album that doesn’t mean they’ve bypassed fun.

Where the Californian quartet’s previous records (2010’s ‘The Fool’, 2014’s ‘Warpaint’) have focused heavily on building an intense mood, ‘Heads Up’ instantly feels more spontaneous and relaxed. Its glittering peak, ‘New Song’, was born out of the band larking around and singing about playing a, well, new song. It’s easily their best tune to date; a huge slab of euphoric pop that begs you to hit the repeat button. The title track shares a similar nagging energy, but manifests it in a Cure-style bassline and Emily Kokal and Theresa Wayman’s gleaming post-punk guitars.
In interviews, the group have said they wanted to make the album more representative of the excitement of their live shows. To do so, they’ve brought their dancier influences to the fore, stripping away a lot of the hazy, brooding atmospherics they used to cloak their songs in and ending up with a sound that’s 10 times more immediate. ‘So Good’ bounces along on Lindberg’s elastic bassline and the minimal ‘By Your Side’ is an ode to female friendship that has them singing “Got my girls, I’m not alone” to drummer Stella Mozgawa’s twitchy, hip-hop-inspired beat.

Like their self-titled album’s ‘Biggy’, ‘Heads Up’ also makes reference to an iconic hip-hop star. ‘Dre’ doesn’t sound overtly like its namesake – it’s too languid and lacking even the slightest vigour – but it apes the genre he works in with a foundation of processed beats and synths, and guitars that are chopped up to sound like they’ve been sampled. It’s symptomatic of the album as a whole – more adventurous and free-spirited than the ‘Warpaint’ of before, but retaining the laid-back DNA at their core. For once, Warpaint sound like they’re having fun – and it suits them. - NME 4/5

Psyk, Rod, Architectural and Yotam Avni. This is a 12" vinyl with a hand stamped white label, black ink. Non Series celebrates five years with three-part compilation series. Psyk, Rod, Architectural and Yotam Avni feature on Non Series's vinyl part I/III.

A vinyl edition of Said's 2015 album. It can be said that without Rizan Said a good number of Syrian singers from the 1990s onward -most notably his collaborator for two decades, Omar Souleyman- might never have been heard. Where synthesizers can bring a certain artifice and death to the sound of music, Rizan's torrential speed and flair on the keys bring new life to Syrian and Kurdish sounds respectfully forcing the component sounds of folkloric dabke into the next level.. This is the updated sound of the ages, where hand drums and reed flutes are now emulated and pounded out on Korg keyboards.

Vinyl with many scuffs and hairlines. With insert. Promo copy with white labels.

According to the 70th anniversary of the legendary Freddie Mercury, publishes „Messenger Of Gods – The Singles“. The whole box set contains 13 x 7“-Colored Vinyl including all his solo singles, double CD with B-sides and original single material and also a booklet with extended liner notes and unreleased fotos.

Sleeve has a small tear at opening.

4 remixes by Real Lies, Tom Demac, Offer Nissim & Stuart Price!

One of the true gems from the deep vaults of Stax. Includes 'Our Generation' which was sampled to fame by Pete Rock fpr 'Straighten It Out'!

Mastered by Bernie Grundman from the Original Analogue Master Tapes !

Numbered Deluxe Laminated Gatefold Jackets!

Only 2500 Numbered Limited Edition Copies Worldwide!



John Coltrane returns to his roots using the Blues to explore the boundaries of Jazz! Features McCoy Tyner, Steve Davis and Elvin Jones! Recorded in 1960 during the My Favorite Things sessions, Coltrane Plays The Blues features "Blues To Bechet," "Blues To Elvin" and "Blues To You" in addition to three other tracks.



"Coltrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't). It's more indicative of a bluesy sensibility, whether he is playing muscular saxophone or, on "Blues to Bechet" and "Mr. Syms," the more unusual sounding (at the time) soprano sax. Elvin Jones, who hadn't been in Coltrane's band long, really busts out on the quicker numbers, such as "Blues to You" and "Mr. Day." - Richie Unterberger (All Music)



"The Coltrane Quartet, three-fourths complete at the time of this recording, had begun its historic rise and had also turned the corner in Coltrane's music, transitioning from the expressive verticality of Giant Steps to the more elongated, long-limbed lyricism that would define his role in the avant-garde. It can come as no surprise that to do so, he engaged the material he'd known longest and best - the blues." - Neil Tesser, author of The Playboy Guide To Jazz

Vinyl with scuffs and hairlines. Cover with price tag on the front. Booklet included.

Cover and vinyl are close to NM. Price tag.

Los Angeles artful indie post hardcore band Touché Amoré new album.

Formed in Burbank, California, across 2007 and 2008, the band’s urgent sound, with its melodic sonic assault and impassioned vocals, has grown tighter and more refined through a trio of full-length albums and a series of EP’s and releases. Since those early days, lead singer Jeremy Bolm, guitarists Nick Steinhardt and Clayton Stevens, bassist Tyler Kirby, and drummer Elliot Babin have created a trajectory for themselves through hard work and dedication. And now with Stage Four, their fourth and biggest album to date, they are cementing their status as one of rock music’s most talented, relatable, and visceral acts. Over the years the band rose to prominence with 2009’s …To the Beat of a Dead Horse and 2011’s Parting the Sea Between Brightness and Me. Touché Amoré crossed into new territory with the 2013 art-punk masterpiece Is Survived By. Having earned early cred, critical favor, and legions of fans by playing lengthy tours of all shapes and sizes—in every basement, youth center, and house show—the band enjoyed a bigger following which only grew along with their talents.

“I don’t open up to people too much in regular life, but when I’m writing songs, I want to be as open and as honest as possible,” Bolm confesses. Touché albums have always served as an emotional outlet for Bolm. So when the time came to write Stage Four there was no question that it would be about passing of Bolm’s mother in late 2014. Stage Four was recorded in early 2016 in Studio City, CA with producer Brad Wood. Cathartic in delivery, highly sentimental, and sonically triumphant, Stage Four is an emblem of a band both living its dream and marred by loss. And with Stage Four, Touché Amoré has unmistakably made the biggest, boldest, and most artistic statement of their career.

Franco Chiari, born in 1927 in Naples, was an eclectic artist who is considered a bit of a wildcard of keyboard instruments: he played the piano, accordion, synthesizer, vibraphone and marimba in both jazz and symphony. For three consecutive years (1957/58/59) he won the National Jazz referendum, was vibraphonist in the national TV Orchestra and participated in numerous important broadcasts. He received many awards in his career, and numerous are the artists who have wanted to play live alongside him, including Lionel Hampton, Stéphane Grappelli, Django Reinhardt, Piero Piccioni, Armando Trovajoli, Lelio Luttazzi, and more.

In this album released in 1973, the most groovy in his career, and now the most wanted from collectors, he rearranges the compositions of Mario Bertolazzi electronically with the use of synthesizer on rhythms ranging from latin beats to funk.

Numbered limited edition with digital downloads included and an amazing cover with splashes of paint, making each copy unique and unrepeatable.

Out of print for over 25 years, the debut LP from NYHC legends Warzone is finally back in print courtesy of Revelation Records. Warzone were a cornerstone of the NYHC scene, sharing the stage with legends like Agnostic Front, Cro-Mags, Murphy’s Law, Youth Of Today, and many more. Led by the influential and charismatic Ray “Raybeez” Barbieri, Warzone entered the studio in 1987 and produced Don’t Forget The Struggle, Don’t Forget The Streets which went on to achieve legendary status. Often imitated but never duplicated, Warzone had a sound unique to the NYHC scene. Coupled with vocalist Raybeez’ uplifting and often incisive lyrics, Warzone’s sound influenced generations of bands and kids across the world. Revelation is incredibly proud to present this newly remastered and repackaged version of this seminal NY hardcore record, including liner notes by “Lukie Luke” Abbey, new artwork by John “Omen”, and many never-beforeseen photos.

Copy closer to VG+

Reggie Dokes will be back this fall with another EP on his own label Psychostasia. After a long hiatus he returned last spring with his fresh Detroit House sound. Now, we're happy to present his follow up; New York EP.

This is the next installment of Rex Ilusivi archive uncoverings. This time it’s a live concert from SNP (srpsko narodno pozoriste / serbian national theatre) in Novi Sad, Serbia. Again it's a sublime masterclass in layering and mixing from the much revered King Of Illusion.

Jackmaster Hater presents Jeremy Williams with four nice and jackin’ Acid influenced Chicago tracks!

Promo stamp on back.

This LP comes on 180g vinyl. Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro’s forgotten masterpiece ‘Obnoxious’.

Peter Zummo (born 1948) is an American composer and musician. He plays the trombone, valve trombone, euphonium, synthesizer, other electronic instruments, and also sings. He is associated with the postminimalist and Downtown aesthetics, and he describes his music as "minimalism plus a whole lot more." He’s well-known for his work with Arthur Russell.

DJ Loser kicks off his vinyl debut with "Your eyes were telling me that you really cared", a soothing and sun-bleached late night downbeat driver, which gives way to A2's "Untitled" menacing and jacking tone that is sure to bang the dingiest of darkrooms. B1's "I've got dis (but I can't do it)" is a bona fide slammer made to liquify whatever is left of one's mind way past the midnight hour, while Seixlack's rendition of the latter brings more paranoid and percussive-led assaults to the table.

Latest album by Danny Kroha, singer/ guitarist of The Gories & The Demolition Doll Rods. The tunes are often lighthearted, fun, & rowdy, but there is also an undercurrent of science fiction dread. Apocalyptic party rock makes sense from a trio of Detroit shadow dwellers, & the good times are never too far from the hard times over the course of this mono masterpiece. Produced by Jim Diamond.

Debut album full of contrasts, with emotional depth & an intriguing combination of sounds. Classic music for a modern mood.

Produced, Composed, All Instruments Performed By SUPERSTRUCTURE (Todd Osborn)

Extra long Italo disco edits with Kicks; Bass, straight ahead with original Disco flavour!

Styles of Beyond MC and Demigodz frontman, Ryu, unleashes his long-awaited debut solo album "Tanks For The Memories". From his early years ruling the Los Angeles radio and cypher scenes, to breaking necks and banging heads with Styles of Beyond via their critically acclaimed seminal debut album "2000 Fold" and their sophomore follow-up "Megadef", through to his work with Mike Shinoda in Fort Minor on their Jay-Z overseen “Rising Tied’ album. Experiencing both mainstream and independent, underground successes, Ryan ‘Ryu’ Maginn states “'Tanks For The Memories' is a metaphor for the battles I've fought throughout my career in the music business. That would include the bad and the good. You win some, but in my case I've lost a lot as well. In the end, I believe I'll win the war.” The album is entirely produced by Divine Styler, except for the last track which is produced by Apathy. Reuniting with Divine Styler on production was a no-brainer for the 'San Fernando Valley Rambo' as he explains “Divine Styler was instrumental in the development of the Styles of Beyond sound. So it was a very natural process when working together on this album." The album features Everlast, Divine Styler, Celph Titled, Bishop Lamont, Tak, Gravity Christ and Jams.

"The Greatest X” features appearances and productions from Statik Selektah, Alchemist, Large Professor, Evidence, Nottz, Black Milk, Apollo Brown, Buckwild, Planet Asia, Guilty Simpson, Streetrunner and more. To say Reks took the underground Rap scene by Storm would be an understatement. As over the course of his first decade on the scene se was the definition of consistent. Unleashing three consecutive albums that firmly established him as one of Hip-Hop’s most revered new artists: “Along Came The Chosen”, “Grey Hairs” (primarily produced by Statik Selektah with additional production from DJ Premier & Large Professor), “Rhythmatic Eternal King
Supreme” (which debuted on the Billboard Charts and included production from Statik
Selektah, DJ Premier, Pete Rock, Hi-Tek, Nottz, Sha Money Xl & Sean C & Lv). Rather than resting on his laurels, Reks choose to take his artistic direction and vision in another direction, devoting his time and energy to embark on a new mission working on passion projects. All of which foreshadowed many of the societal ails that we as a country and now fully embroiled in. While Reks’ “The Greatest X” (pronounced as “The Greatest Unknown”) is not a comeback album. It is a return to force for the Boston wordsmith. As he did on his previous stand-out efforts, Reks is back working with the industries elite producers. As he sets out to take the next step in his progression. Reks has already set things in motion with the release of videos for the Streetrunner produced “Hands Up” (Wink Wink), the Nottz produced “The Recipe,” “Jump Shots” (Produced By Buckwild) and “B*Tch Slap” featuring R.A. The Rugged Man, which have all been favorably received.

For his next release on Soundway Records, Los Angeles-based Dexter Story hooks up with long time friend and compatriot of music, the saxophonist, jazz composer, producer and band-leader Kamasi Washington. A fierce, rumbling electro Ethio-Funk groove provides the platform for an intense and powerful interplay between Washington on tenor sax and Todd Simon on trumpet. An instrumental cover version of Tilahun Gessesse's 1970s cut of the same name, it's Story's homage to the oppressed Oromo people of Southern Ethiopia. Backed on the flip by the one cut from Story's 'Wondem' long-player that did not make it to vinyl when the LP version was cut, Nia Andrew's sublime and atmospheric collaboration on Eastern Prayer will keep all those happy who grumbled at it's exclusion from wax first time around. This is a record that no lover of Ethio-Jazz, Afro-Beat or Funk should be excused for not owning.

Sticker on label.

Fame Records was an off shoot of the renowned FAME Studio, and this special vinyl-only compilation looks at the very best of the label’s work during its first four years.

Helmed by owner Rick Hall, aided and abetted by his team who included Dan Penn, Spooner Oldham and the Swampers house band, this LP collects together some of the very finest music from the birth of southern soul.

The LP features hits by Clarence Carter and Jimmy Hughes, Northern soul classics from James Barnett and Art Freeman, recordings by Dan Penn and Spooner Oldham as well as a plethora of cuts appearing on vinyl for the very first time.

Two albums in a single sleeve with two lavishly illustrated inner bags including extensive notes.

Cutout

Record was in DJ use, groovewear.

Betty Harris’ The Lost Queen of New Orleans Soul collects together the steady stream of amazing soul and funk singles issued by Betty Harris from 1964 to 1969, under the musical guidance of legendary composer, musician and producer extraordinaire Allen Toussaint, a collection which truly captures the heart and soul of the city of New Orleans during this era.
Betty Harris’s powerful, fiery soulful vocals found a perfect accompaniment with the New Orleans’ players that Toussaint put together to back her, which by the time of her funk classic ‘There’s A Break In The Road’ were the legendary super-tight, super-funk New Orleans group The Meters.
With the extraordinary song-writing skills of Allen Toussaint alongside the powerful, soaring, confident and emotive singer and the groove of The Meters, you have an unbeatable combination. That Harris never in fact lived in New Orleans (she flew in from Florida for all her sessions with Toussaint’s local in-house players) seems almost an irrelevance, a geographical aside to the defining New Orleans sound captured on the recordings featured here.
All of these singles featured here were released on Allen Toussaint and his business partner Marshal Sehorn’s local New Orleans label Sansu, widely distributed in the southern city but in only limited quantities elsewhere. As a consequence, Betty Harris’ music failed to achieve the commercial success of other New Orleans artists such as Lee Dorsey (who she recorded with) and The Meters (who backed her). And so at the end of the decade she stopped recording, retired from the music business to raise her family in Florida.

Backed with the brooding synth-pop of brand new B-side ‘First Time’, also co-written by Floating Points, this is the sound of one of the UK’s best bands at the pinnacle of their form.

The Swedish label Fasaan Recordings reinvents itself once again with a 4-track EP from the Free Arts Band. Still rummaging around in the general field of dance music, but now with a touch more avant-garde on their palette. The faceless entity that is the Free Arts Band introduces us to the simple idea of bringing a drum machine to art school. Infused with the creative space of the white-painted studio, a healthy dose of post-modernist pondering and the depth of traditional lineage, these four jams seem oddly timeless. Each of them riding on the verge of reductionism, they seem to ask: how funky can this get with as limited means as possible? Opening track "Cool Grey" offers synthesized new age jazz with some sundazed guitars, while "KADK" strips everything down to their primal elements and lets the rhythms do the talking, pierced occasionally by a woozy keyboard figure that perfectly mimics the gestures of someone walking in on the wrong party. With lo-fi gloom, the heavyweight of the EP, "Inhouse" rolls along on a beat that gently approaches the aesthetics of a West Coast low rider cruising track. Closing the cycle is a sequel to its opening track, and walks you out into a Japanese garden of British new wave guitar twang and brightly colored Badarou-style synths.