Electro/Ambient

Compiled By John McEntrie. The first ever (!) compilation of Cluster recordings will be released in the Kollektion Series. compiled by John McEntire (Tortoise / The Sea and Cake). Cluster's influence on the development of electronic music cannot be overstated. The original trio of Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius released two seminal albums as Kluster before Roedelius and Moebius replaced the K with a C and continued as a duo. They produced eight albums in their most innovative period between 1971 and 1981, two of them together with another pioneer of electronic music, Brian Eno. Cluster anticipated much of what would later emerge in such varied styles as industrial, ambient, electro and even synthpop. Some call Cluster's music avant-garde, others Krautrock or Kosmische Musik. Few would dispute their immense influence on the music of younger generations, even though commercial success largely eluded them. Hence their first album, as a microcosm of their entire oeuvre, made the list of "100 Records That Set The World On Fire (While No One Was Listening)" in "The Wire" magazine, the ultimate purveyor of good taste. About John McEntire: Drummer / percussionist; recording engineer / producer. LP - First 500 units on white vinyl with a special colouring cover. Record Label: Bureau B Style: Electro

Blueneck's new album "THE OUTPOST" available 25th November 2016 on Denovali Records. Hailing from North Somerset in the UK, Blueneck have been at forefront of the European underground music scene since forming in 2000. They've released five critically-acclaimed albums, toured extensively with acts like Cult of Luna and Mono and featured in series of high profile European festivals including a triumphant midnight set at Glastonbury 2014. The band have also soundtracked a number of independent films and had their work featured on NBC, HBO and SyFy channels. Typically obsessive, fastidious and reclusive in their approach to recording (Blueneck's last album, 2014's epic "King Nine", was almost 4 years in the making) the band's forthcoming long-player "The Outpost" was written and recorded over an uncharacteristically short 18 months. Record Label: Denovali Style: Experimental

Immersion's new album of seductive instrumentals takes in a range of moods and energies. The duo of Malka Spigel of Minimal Compact and Colin Newman of Wire, Immersion is a true collaboration, with no delineation between who plays what. Through the nineties Immersion released three acclaimed albums of expansive instrumental electronica. Now 17 years later they are back. Though their sound is unmistakable, clearly the duo have evolved. The pulsing and sliding analogue synths are still present but the most noticeable differences are the introduction of guitars into the mix and an increased sense of urgency to the compositions. This means it cannot be classified as ambient music. Although it does have its contemplative moments - such as the gently unfolding Slow Light - the majority of the album is powered by a strong sense of motion. Nanocluster is a tense, insistent composition. Like the score to some futuristic spy film, it demonstrates their skill at creating sound worlds alive with detail. The urgent forward propulsion of Organic Cities weaves in shades of prime era Tangerine Dream. The fact the album has been largely constructed using analogue instrumentation rather than digital definitely gives it a warmth and depth which sets it apart. Available on CD or spread across two 10" singles. Record Label: Swim Style: Electronic

Compiled By John McEntrie. The first ever (!) compilation of Cluster recordings will be released in the Kollektion Series. compiled by John McEntire (Tortoise / The Sea and Cake). Cluster's influence on the development of electronic music cannot be overstated. The original trio of Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius released two seminal albums as Kluster before Roedelius and Moebius replaced the K with a C and continued as a duo. They produced eight albums in their most innovative period between 1971 and 1981, two of them together with another pioneer of electronic music, Brian Eno. Cluster anticipated much of what would later emerge in such varied styles as industrial, ambient, electro and even synthpop. Some call Cluster's music avant-garde, others Krautrock or Kosmische Musik. Few would dispute their immense influence on the music of younger generations, even though commercial success largely eluded them. Hence their first album, as a microcosm of their entire oeuvre, made the list of "100 Records That Set The World On Fire (While No One Was Listening)" in "The Wire" magazine, the ultimate purveyor of good taste. About John McEntire: Drummer / percussionist; recording engineer / producer. Record Label: Bureau B Style: Electro

Downloadcode. Soul Jazz Records' latest crate-digging excursion into the Crescent City vaults delves deep into the roots and history of the voodoo world of New Orleans Funk and as ever features a stellar selection of killer rare funk and soul! The album is jam-packed with serious break-heavy, heavyweight funk tunes from classic New Orleans artists including Eddie Bo, Betty Harris, Dave Bartholomew, Johnny Adams and Eldridge Holmes (with the ever-present Allen Toussaint and The Meters as always behind the scenes). There is also a host of rare cuts from a number of lesser-known second line New Orleans artists, whose fame rarely reached past the walls of the city, including Gus 'The Groove' Lewis, James K-Nine, Norma Jean, Bob French, Chuck Colbert, Zilla Mayes and Joe Haywood. In the 1960s the syncopated beat of New Orleans Funk developed out of a gumbo mix of New Orleans local flavours - rhythm and blues, Mardi Gras Indians, the street percussion Second Line of the Jazz Funeral and Marching bands, Caribbean rhumba and mambo rhythms - all of which are in full effect. Even Zydeco, the rhythm and blues offspring of Louisiana Cajun music, had the funk as the King of Zydeco, Clifton Chenier, shows us here. New Orleans music and Voodoo both have their roots in the African-American free black and slave gatherings held at Congo Square from the 18th century onwards. Here Voodoo king Doctor John (the original one!) and Voodoo queen Marie Levaux held court over their followers, and here also could be heard the first sounds of New Orleans jazz music. Soul Jazz Records' latest album describes how these two cultural forms are inextricably inter-related. The album traces the path of funk from the very first glimpses of the style - Dave Bartholomew's super-tight 'The Monkey' (recorded in 1957) and James Waynes' junkie jailbird anthem 'Junco Partner' (1951, later covered by Dr John, Professor Longhair, James Booker, and The Clash) through to the 1970s heavyweight boogie funk of Chocolate Milk's rare groove classic Action Speak Louder Than Words and The Baron's 'Making It Better'. Also featured is a selection of hard-core classic funk productions from the legendary Eddie Bo (James K-Nine, David Robinson) and the genius of Allen Toussaint (Eldridge Holmes, Gus 'The Groove' Lewis, Lou Johnson). There also a number of super-rare independent New Orleans' one-off 45 single funk productions from the likes of Chick Colbert and Bob French. And lastly, New Orleans Funk female vocalists are in full effect with tracks by Betty Harris (whose 'Lost Queen of New Orleans Soul' has just come out on Soul Jazz Records), Zilla Mayes and Norma Jean. This album is released as a heavyweight double gatefold vinyl (+ download code), CD pack and digital album, and comes with extensive sleeve-notes and exclusive photography. Record Label: Soul Jazz Style: Funk

Shlohmo fans have been aching for new material from the ‘Bad Vibes’ era since the seminal album’s release and while he has since diversified his approach there’s no denying the transcendent magic of the Los Angeles-based artist’s early work. ‘Bad Vibes – 5th Anniversary Edition’ is a celebration of one of our generation’s most adored producers, extrapolating on the twisted warmth of his seminal works in remarkable fashion. The 3xLP anniversary package include the original gatefold ‘Bad Vibes’ 2xLP, plus a bran new 12” comprised of b-sides, demos and outtakes from the album’s progenitive sessions, bound together by a custom ‘Bad Vibes’ O-card. Having collaborated with the likes of Jeremih, Tory Lanez, Lil Yachty, How To Dress Well and Banks in the years since ‘Bad Vibes’, these unreleased tracks recall a simpler, more intimate time in Shlohmo’s career and whether it’s the live mix of “Seriously” or the temporally defined “11_9_10 Asleep On The 22” that bridges the gap for you, these tracks will surely make waves for fans past, present and future. Record Label: Friends Of Friends Style: Electro/Ambient

Schneider TM on his con-struction: I am very happy and honored to be invited to do an album for the Con-Struct series and wanted to do something special and genuine in this posthumous collaboration with Conrad Schnitzler. I wanted to get as close to his spirit as possible, so I created a musical situation as if we were actually collaborating together in the same room, with Conrad playing his pre-recorded sound-files or modular system and me dubbing and processing it live on the fly… almost as if it was a live-concert situation. Next to many other aspects of Schnitzler’s vast oeuvre, I am fond of the noisy, polyharmonic, polyrhythmic and sometimes quite humorous minimalism of his music, as well as his way of using chance, which often leads to magical and raw beauty. There are no other sounds on this record except for ones created by Schnitzler, sent through my system and processed live. During the sessions I had the feeling of being in a conversation with him. And when I met his widow, Gisela Schnitzler, she told me that they still talk every evening, more than five years after his death, and that he’s still around for sure. So, Conrad, thanks a lot for this experience! Record Label: Bureau B Style: Electronica

DELUXE PICTURE DISC VINYL EDITION!!! This rare recording was taken from a live broadcast at Pat O'Brian Pavillion, Del Mar Fairground, CA, 28th December 1991. So if you were not lucky enough to have attended the first time round you can now enjoy the show at your leisure in Limited edition picture disc vinyl format. It includes many fan favourites such as "Territorial Pissings", "Come as you are", "Smells like Teen spirit", plus many more! SIDE A 1.Intro 2.Drain You 3.Aneurysm 4.School 5.Floyd The Barber 6.Smells Like Teen Spirit SIDE B 7.About A Girl 8.Breed 9.Come As You Are 10.Lithium 11.Territorial Pissings Record Label: Parachute Style: Alternative Rock

Fierce, subtle music, radically strange and unafraid of the deep, but with a killer understanding of rhythm. Lush drum-machine nocturnes, gnarly electronica and glorious flowerings of zoned-out dubspace: an evolutionary music, continuously engaged with experimentation both in the studio and the club. Whether prepared solo, or jointly with his spar Mix Mup, a Kassem Mosse recording is less of a stand-alone creation than the next thrilling installment of an unstoppable groove. True to form, Disclosure dazzlingly extends some of the most mystical, essential dancefloor-rooted music of the last decade, from dusty, dream-state techno on Workshop and Mikrodisko, to frazzled beatdowns on Trilogy Tapes and Nonplus. Pedigree techno and house are the lifeblood of Disclosure, yet with something newly microscopic about them. Its mesmerising juggle of pointillistic percussion, melting-wax chords and fleshy bump’n’grind suggests biological processes at work, as if Mosse has zoomed right into the cellular metabolism ticking away at the core of the music. These textures are woven into some of KM’s richest and most emotionally complex material so far, constantly enlivened by forays into jazz, dub and beyond. Check the farty-bottom, broken-down, steel-pan minimalism of Collapsing Dual Core, just the job for coursing around Detroit in a car at night; and Phoenicia Wireless’ dastardly, intricate combination of glowering John Carpenter synths, heavy static and junked consoles on remote, as if the beats are fighting a wave of dirt, soot and fossilisation. The frantic, interstella tarantella of Galaxy Series 7; the wonky bump-and-hustle and heavy-lidded drama of Purple Graphene, to close. Expertly pieced-together and paced, Disclosure brilliantly registers all the self-contained coherence and artistic authority of an album proper, yet shadowed throughout by the open-ended and questing spirit so vital to Mosse’s music. Its intimate enactments of non-closure, and its sense that anything could happen at any moment; its thematic play between excess and incompleteness, babble and tongue-tied stutter, and-you-don’t-stop grooving and entropy, wobble and the pause-button. Trash and ready in a spiffy Bankhead sleeve, too. Double bim. Bim, bim. Record Label: Honest Jons Style: Electronica

Downloadcode. Europa, the second album from Shrubbn!!, the duo of Ulli Bomans (Schieres) and Marco Haas (T. Raumschmiere), displays a map of Europe on it's cover, as might be expected from the title. The song titles on Europa also draw from the inexhaustible riches of the dialects and villages. From a musical perspective, this record is like an amazing journey through a Europe that is fed by more than just numbers, tables and statistics. Unlike it's predecessor Echos (STRIKE 136LP, 2012), which represented something rather hidden and gloomy, Europa changes direction towards land and people. All the tracks on Europa are named after cities. "Elk" is the sound of the universe screeching as it lands on earth. With saw-toothed flowers and an utterly beautiful intro, the universe finally lands on the lost Alp. "Lom" is cubist electronics over a dense beat. "Eskilstuna", somewhere in Scandinavia, sounds something like snow and rock crystal. One melody after another sits between the round and beautifully layered chord pads. "Vovchans'ki" is a typical track from the Europa phase - A European yearning for the avant-gardist of 1922, modern and extremely brilliant. "Äthäri" sees Schieres and T. Raumschmiere manoeuver through snapshots, waves and highways in a meadow from elsewhere. "Anenii Noi" is a fantastic Shrubbn!! track that still breathes the spirit of Echos. It has a wonderful delayed beat, painted in tonal drums. With "Mondragon", a European spirit is conjured again, one that is much freer and more beautiful, and seems lost for nearly 100 years - crashing layers of melodies and clear sounds of a modern age from the past. "Shumen", previously called "Kolarowgrad", wanders from A to B. "Freistritz an der Gail" is composed of sound. Shrubbn!! builds a wall-of-sound out of hisses, synth teeth and flashes of genius. "Drunen" and "Nöo" are sort of downbeat, but definitely beat. Very dream-like and beautiful. "Nea Koroni" sounds a bit like the Alps and the mountains and valleys and meadows and bells. Shrubbn!! go through "Hrafnagil" and leave the listener in "Leirbotn". If the previous album Echos can be described as a profoundly intense journey through spaces and depths, reverb and shaft, Europa warms up like a dream landscape of earth and clay. The tracks have their own dialects; they are either coming from or traveling to someplace. There are colorations and stories told. Record Label: Shitkatapult Style: Electronic / Ambient

Record Label: Faitiche Style: Electronic / Ambient

From the dance hall to dancehall, here Balkan Beat Box perhaps delve deeper into their reggae influences than recent offerings. Always a part of their bass-heavy sound, it’s far more overt than on previous efforts. Both in the vocals of Tomer Yosef and the rhythms, that’s where this album lies. Successfully? To a point. Where it suffers a little is that it sounds a little watered down compared to more hardcore Jamaican takes. If one takes the time to really dive into the deepest recesses of dancehall, Shout It Out is left for dust. Is that a problem? Perhaps not: as an introduction to a genre or a gateway to that drug of choice, the record is just fine. And it does gleefully grasp influences from the Middle East and Mediterranean that give it a degree of individuality. A track like ‘I Trusted U‘ throws in any number of elements from acoustic guitar, sleek but powerful horns to rough beats and electronic squeaks. Underneath the distinct reggae meter of the vocal, that mix is pretty enchanting. More so than when matters are a touch conservative. Balkan Beat Box formed in the hotbed of Brooklyn but equally call Israel home and plunder musical traditions from all points in between. It’s world music in the truest sense. Not of the Later…with Jools Holland variety but in the sense that it is utterly without borders. The brass sound from the Balkan states tossed through the mixer with West Indian dub with admirable commitment. In many ways, they’re the quintessential 21st-century band. The global marketplace being served by the global creators. Certainly highly danceable and lively stuff across all 12 tracks. There’s an exotic feel when listened to through homegrown ears but it is nigh impossible not to wish things were pushed further. Harder, deeper, funkier, more…authentic. Whilst on paper they are a record executive’s wet dream, the sum is merely the parts, no more, no less. All a little art school and hip, with all the pluses and minuses that entails. All that said, it is a jolly romp. Summery and lively, honking and hip-swinging. An urban melting pot pointing to a melange of cultures. Exactly what it says on the tin I suppose. No danger of the trades description act being invoked. Or health and safety being infringed. Which is perhaps its shortcoming. Fun but no danger or real edge. Record Label: Digital Monkey Style: Worldbeat

Record Label: Warp Style: Electronic

Record Label: Warp Style: Electronic

Europa, the second album from Shrubbn!!, the duo of Ulli Bomans (Schieres) and Marco Haas (T. Raumschmiere), displays a map of Europe on it's cover, as might be expected from the title. The song titles on Europa also draw from the inexhaustible riches of the dialects and villages. From a musical perspective, this record is like an amazing journey through a Europe that is fed by more than just numbers, tables and statistics. Unlike it's predecessor Echos (STRIKE 136LP, 2012), which represented something rather hidden and gloomy, Europa changes direction towards land and people. All the tracks on Europa are named after cities. "Elk" is the sound of the universe screeching as it lands on earth. With saw-toothed flowers and an utterly beautiful intro, the universe finally lands on the lost Alp. "Lom" is cubist electronics over a dense beat. "Eskilstuna", somewhere in Scandinavia, sounds something like snow and rock crystal. One melody after another sits between the round and beautifully layered chord pads. "Vovchans'ki" is a typical track from the Europa phase - A European yearning for the avant-gardist of 1922, modern and extremely brilliant. "Äthäri" sees Schieres and T. Raumschmiere manoeuver through snapshots, waves and highways in a meadow from elsewhere. "Anenii Noi" is a fantastic Shrubbn!! track that still breathes the spirit of Echos. It has a wonderful delayed beat, painted in tonal drums. With "Mondragon", a European spirit is conjured again, one that is much freer and more beautiful, and seems lost for nearly 100 years - crashing layers of melodies and clear sounds of a modern age from the past. "Shumen", previously called "Kolarowgrad", wanders from A to B. "Freistritz an der Gail" is composed of sound. Shrubbn!! builds a wall-of-sound out of hisses, synth teeth and flashes of genius. "Drunen" and "Nöo" are sort of downbeat, but definitely beat. Very dream-like and beautiful. "Nea Koroni" sounds a bit like the Alps and the mountains and valleys and meadows and bells. Shrubbn!! go through "Hrafnagil" and leave the listener in "Leirbotn". If the previous album Echos can be described as a profoundly intense journey through spaces and depths, reverb and shaft, Europa warms up like a dream landscape of earth and clay. The tracks have their own dialects; they are either coming from or traveling to someplace. There are colorations and stories told. Record Label: Shitkatapult Style: Electronic / Ambient

From the dance hall to dancehall, here Balkan Beat Box perhaps delve deeper into their reggae influences than recent offerings. Always a part of their bass-heavy sound, it’s far more overt than on previous efforts. Both in the vocals of Tomer Yosef and the rhythms, that’s where this album lies. Successfully? To a point. Where it suffers a little is that it sounds a little watered down compared to more hardcore Jamaican takes. If one takes the time to really dive into the deepest recesses of dancehall, Shout It Out is left for dust. Is that a problem? Perhaps not: as an introduction to a genre or a gateway to that drug of choice, the record is just fine. And it does gleefully grasp influences from the Middle East and Mediterranean that give it a degree of individuality. A track like ‘I Trusted U‘ throws in any number of elements from acoustic guitar, sleek but powerful horns to rough beats and electronic squeaks. Underneath the distinct reggae meter of the vocal, that mix is pretty enchanting. More so than when matters are a touch conservative. Balkan Beat Box formed in the hotbed of Brooklyn but equally call Israel home and plunder musical traditions from all points in between. It’s world music in the truest sense. Not of the Later…with Jools Holland variety but in the sense that it is utterly without borders. The brass sound from the Balkan states tossed through the mixer with West Indian dub with admirable commitment. In many ways, they’re the quintessential 21st-century band. The global marketplace being served by the global creators. Certainly highly danceable and lively stuff across all 12 tracks. There’s an exotic feel when listened to through homegrown ears but it is nigh impossible not to wish things were pushed further. Harder, deeper, funkier, more…authentic. Whilst on paper they are a record executive’s wet dream, the sum is merely the parts, no more, no less. All a little art school and hip, with all the pluses and minuses that entails. All that said, it is a jolly romp. Summery and lively, honking and hip-swinging. An urban melting pot pointing to a melange of cultures. Exactly what it says on the tin I suppose. No danger of the trades description act being invoked. Or health and safety being infringed. Which is perhaps its shortcoming. Fun but no danger or real edge. Record Label: Digital Monkey Style: Worldbeat

180 GRAM AUDIOPHILE VINYL The Pentangle was the 1968 debut album of the band Pentangle: Terry Cox, Bert Jansch, Jacqui McShee, John Renbourn and Danny Thompson. It brought together their separate influences of folk, jazz, blues, early music and contemporary song-writing. One of the band's most commercially successful albums, it reached number 21 in the British charts. By the time that the album was produced, the members of Pentangle were already accomplished musicians, in their own fields, and had played together in various combinations. Jansch and Renbourn were recognised as solo artists and played together regularly, including their recording of the Bert And John album. McShee had sung folk and blues in pubs and clubs, and had recorded with Renbourn on Another Monday. Cox and Thompson were experienced session musicians and had played together in Alexis Korner's band. Record Label: Music On Vinyl Style: Folk

Secretly Canadian is honored to partner with Chimera Music on releasing Yoko Ono's musical output from 1968 to 1985. Comprised of eleven studio albums, the reissue project's focus is to painstakingly reconstruct the original vinyl packaging, to thoroughly excavate and appropriately curate the treasure-laden archives of never-before-seen photos and ephemera, and to re-master the audio, all for the purpose of creating the definitive editions of this timeless work. In addition to making the vinyl available for the first time in decades. Secretly Canadian and Chimera Music couldn't be more proud to be a part of re-introducing Yoko Ono's seminal work. The first batch to be reissued will be 1968's Unfinished Music No. 1: Two Virgins, 1969's Unfinished Music No. 2: Life With The Lions, and 1970's Plastic Ono Band. This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Yoko Ono Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voormann and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia. Released in 1970, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 45 years out, eternally fresh despite the forward march of time. Yoko Ono/Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today. Secretly Canadian's reissue also includes four additional songs - Open Your Box, Something More Abstract, Why (Extended Version), and The South Wind - that did not appear on the original release. Record Label: Secretly Canadian Style: Avantgarde

Downloadcode. After his groundbreaking album Opa Hey! and the raw and groovy Demoni, Kottarashky is back with album number three, this time taking us deep into a New York district called Sofia and introducing us to its street corners brimming with rock, blues, Balkan-style funk and the jazz-flavoured rhythms of late summer. On this new album, The Rain Dogs are much more than just the back-up band of a lone sonic wizard. The crew now comprises some of the most sought-after musicians drawn from the contemporary Bulgarian scene. And they didnt leave anything to chance when they gathered at Blubalu Studio in Sofia to record their version of a genuine Balkan- American street sound. On the way into the studio, they picked up an authentic Sofia beat poet named Nufry (i.a. Panican Whyasker), a singer, songwriter and icon of the Bulgarian independent scene whose stories truly enrich the Dogs. Indeed, Nufrys haunting vocals lend The Rain Dogs additional depth and magnitude; they revel, waft, break out and move in tandem with the horn sections and raw guitar chords in a sonic space somewhere between the American South and the Black Sea. The fruits of their work are songs such as This Little Devil, which features lyrics about relationship woes with some help from ballet and beer. The Winner, the Driver even recalls the trippy funk rock of bands like Soul Coughing. At first, Cats, Dogs and Ghosts sounds as if the band has set out on the road to rock ‘n roll. But then Kottarashky sets the pace with those tight groove collages and Balkan samples were familiar with from Opa Hey!. And its precisely that crazy Kottarashky boogie that allows the band to capture and revel in the originality of those Balkan street fairs and festivals. Its as if Kottarashky fills his line-up of guitar, bass and drums with village musicians drawn from his archive and thus effortlessly brings life to those concrete, big-city residential blocks. Kottarashky was never Balkan Beats, but now he is one of the enduring protagonists of the last decade of Balkan music. To be sure, together with his Rain Dogs, he shows us why we should never stop listening to the sounds emanating from the Balkan region. Record Label: Asphalt Tango Style: Worldbeat

Wayne Graham (USA) Hayden and Kenny Miles were only eight and thirteen when they played in a band together for the first time. Their father had just founded a church in southeast Kentucky and the two were backing him in the services on drums and bass. The Whitesburg area, and that's a scientific fact, has one of the lowest qualities of life in all of the US. Since the mid 1970s the area is in a state of constant recession. Lowest per capita income, shortest life expectation, firm republican domination. The answer to how the two brothers and their delicate and ornery Alternative Country fit into that picture is rather simple: they don't. Their album Mexico, already their fourth and the first one to be released in Europe, oozes a seemingly supernatural maturity, even though the two brothers are only 26 and 21. Mexico, is concise and clever. Extremely catchy but never mundane. Artistic but not overly intellectual. The songs are often rather short and the remarkable, airy production, which takes place in the basement of their parents house, feels like an excercise in reduction. Beautiful chords and melodies, an incredibly melodic style of drumming and always at the right moment, wayward little details, breaks and lyrics, written for eternity: Like the wolf outside we are led by desire, we are ruled by the time we have lost? (Fellow Man) Record Label: Hometown Caravan Style: Singer/Songwriter