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This special album features original compositions by a top-notch lineup of Haruomi Hosono, Ryuichi Sakamoto, Yuji Ohno, Mickey Yoshino, and Hiromasa Suzuki, performed by top-notch studio musicians.

Before morphing into the excellent psych trio, B.F. Trike, Hickory Wind (from Evansville, Indiana), released one brilliant, and extremely rare, country psych album in 1969. Just 100 copies were pressed for the Gigantic label, and originals have been known to change hands for a small fortune. The album features excellent vocals, plus an interesting mix of fuzz guitar, and droning organ, as well as some wonderfully melodic songs. This reissue also features four bonus tracks from the B.F. Trike album session, recorded for RCA Records in Nashville, Tennessee in 1971. The B.F. Trike album, however, remained in the vaults for 25 years, before it was finally uncovered and given its just recognition in the mid-nineties. </p><iframe width="560" height="315" src="https://www.youtube.com/embed/K3IzI2EcBpU?si=-aZLG1UwEr0lp9_M" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

Matthew Linares aka Hidden Rung makes his solo debut on Good Morning Tapes. Having previously released on the label as a member of Pataphysical, Matthew is no stranger to the wizardry of GMT. "Happier" charts into uncanny territory, with it's deep, dubby sonics and fleeting spoken dialogue treading the line somewhere between a familiar land and a new and slightly unnerving horizon. Really lovely stuff. We can't get enough. Highly recommended every time!

Roman Hiele (1991) is a Brussels-based musician and composer whose work explores the boundaries between improvisation and electronic composition. His music unfolds as a living system of shifting harmonies, fractured rhythms, and unexpected turns.

At the core of Hiele’s practice lies a deep fascination for contrast, where his soundscapes act as both anchor and disruption, sharpening the emotional depth of images and spaces, a sensibility that extends into his collaborations with filmmakers, visual artists, and designers.

His new album, Emo Inhaler, on Stroom is an emulsifying force, blending these threads into a single, fluid whole. The record condenses compositions born from improvisatory explorations and electro-acoustic experimentation. Recorded and concluded across various studios and train coupés, Emo Inhaler is expansive, yet tightly woven, creating a singular sonic identity that explores Hiele’s own world of musical off-key vignettes, balancing between light and sinister. With Emo Inhaler, Hiele reaffirms his place as one of Belgium’s most adventurous and distinctive contemporary voices.

“I’ve been partying since 1984,” says Jamal Moss, the living Chicago legend known by his dedicated cult following as the one, the only, Hieroglyphic Being. “40 years later, it’s drastically different - everybody’s angry!” So sets the stage for Dance Music 4 Bad People, the artist’s first album for Smalltown Supersound. Tapping back into the same cosmic frequencies responsible for the prolific house virtuoso’s most vital work, the album sees Moss coaxing nine anthems for those up to no good from out of the ether. With driving drum machine workouts and low-slung synth sexuality, Hieroglyphic Being pays homage to human fallibility, drawing focus on the revolutionary potential of house music and club culture that is so often lost to the chaos of the present. “I have yet to walk into a club and see everybody hug and say: Let’s forgive each other, let’s move forward and make the world a better place,” he levels. “With all these conversations about sexuality, ethnicity, politics, whatever, when you walk into an environment with the music, you are supposed to celebrate all of that. Let it be and come together.” As the tongue-in-check title suggests, Moss looks to the eternal quality of his art to throw moral compasses into disarray, speaking truth to the evil energies that have permeated the club industrial complex of today while challenging black and white notions of good and bad that are so easily instrumentalized for the persecution of those at the fringes. For Moss, this is a tension he has observed since he started hearing the sound pioneered by Ron Hardy at the legendary Muzic Box, back when Chicago house music was born. “Back then, especially during the Reagan era and the police brutality of the so-called crime and crack epidemic, the one thing I noticed in my community was that house music actually helped us escape from all that negative stuff and make everybody in the environment support each other more.” Experiencing house as a great leveling force, the origins of the cosmic dance prophet the Hieroglyphic Being would become can be traced back to the club as an essential site of acceptance. “If there was anybody of a certain walk of life, politically, sexually, ethically, financially, we didn’t care,” he asserts. “We were just there to be free of all that shit.” It’s this loose vitality that Moss understands to be in severely short supply in the dance music scene today. “Festivals and clubs profess to propagate safe spaces, but you’ve probably seen it firsthand: you look around and a good percent of people in the club are not happy.” Taking aim at the entire ecosystem, from the malaise and malcontentedness of modern audiences to the false solidarity and commodification of minority positions within the commercial entity of dance music, Moss offers up the raw, unrefined power of the tracks collected on Dance Music For Bad People as an antidote to these evil forces. You can hear this negativity fleeing in fear from the surging drums of ‘U R Not Dying Ur Just Waking Up’ and ‘Dispatches From The B4 Life,’ or teased into submission by the sensual low end gurgle of ‘The Secret teachings Of The Ages’ and the ambling bassline of ‘Reality Is Not What It May Seem.’ On the dense cacophony of ‘The Art Of Living A Meaningless Existence,’ Moss sounds ready for spiritual war, armed with restless sequencing and bursts of high voltage static. But it’s Moss’s ability to capture fleeting moments of transience that provide us insight into the esoteric knowledge hinted at by his track titles. The lysergic tempo change of ‘I Am In A Strange Loop’ stretches out its rippling organ to revel in its celestial detail, while the nervous, metallic twangs of ‘Awakening From the Daydreams’ are gradually tempered by soft, crystalline flourishes. This same shimmer shines through the blown out wall of sound of ‘The Map Of Salt & Stars,’ illuminating the shade with stark clarity. These are glimpses of a master at work, constantly tweaking his sound towards a purer feeling and his thought to a higher understanding. As the American empire crumbles, the Hieroglyphic Being strides forward with a clear vision to broadcast a sage warning. “If you let other people dictate to you how you are supposed to feel about someone else, it goes into a dark space, especially when there’s nothing good you can say about them,” he says. “Get out of your comfort zone and reach out to people so you can learn more about them.” Though this temptation to judge can be irresistible, Moss believes in the primordial power of the Chicago house sound. Rather than condemn some as bad and others as good, Dance Music 4 Bad People helps us all to recognise each other through the smoke and strobe light. The Hieroglyphic Being speaks through the sound with a message of optimism and hope. “Everybody should be loved, adored, respected, no matter the path you take.”

From the moment they emerged in the early days of the 80’s Tokyo underground, High Rise set themselves apart as radical outliers, shattering the limits of rock and psychedelic music with a ferocity unmatched even in that heady era. The group’s core duo of Asahito Nanjo on bass/vocals and Munehiro Narita on guitar had an explosive chemistry; they mutated, distorted, amplified the raw velocity, heaviness, and electricity of late 60’s / early 70’s rock into an entirely new, monstrous form. Running in similar circles, their approach paralleled that of Les Rallizes Dénudés, but with a more garage / proto-punk attack and the blistering intensity of a full-on amphetamine rush. While Mizutani’s guitar is what took Rallizes’s to another level, the same can be said for Narita’s guitar work in High Rise- rightfully placing him in the pantheon of psychedelic guitarists and for some to call him “the undisputed king of the motorcycle fuzz guitar”. The band inspired the launch of the legendary P.S.F. label, giving it its first two releases which along with its third release, the debut of Keiji Haino’s Fushitsusha, signaled a new era in the world of Japanese underground music. High Rise’s second album, 1986’s II, was a triumph and fully lived up to the group’s original “Psychedelic Speed Freaks” moniker, instantly raising the stakes for any band to follow. It carved out a new stream of rock music, rooted in an encyclopedic knowledge of the music’s history and an almost metaphysical understanding of its raw elements and spirit. High Rise’s third album, 1992’s Dispersion, kept the group’s in-the-red intensity while pushing into new directions. Less grounded in speed, Nanjo along with drummer Dr. Euro build powerful, dynamic riffs that swing with crushing levels of heaviness. Slower pieces rife with blues infused tension appear alongside dissonant no wave inflected passages and rumbling biker rave-ups. All of which provide Narita with the room to create one of rock guitars most compelling high wire spectacles. Throughout the album he creates dizzying torrents of notes with a precision, control and endless inventiveness that crackles with chaotic energy. As P.S.F.’s own description proclaimed at the time “Munehiro Narita's guitar explodes!” this is “Killer-Fuzz-Wah-Wah psychedelic heaven!” Dispersion is “a masterpiece that should be a classic for all psychedelic speed freaks.” Black Editions is pleased to present the definitive edition of Dispersion, remixed and remastered from the original master tapes by Asahito Nanjo and released in a deluxe gatefold double LP edition housed in a die-cut slipcase printed entirely with spot colors and featuring spot UV gloss and soft touch finishes.

This Meditations Classic Logo T-shirt is inspired by Hinduism and the Sadhu. The body is a 6-ounce T-shirt made by Gildan. The Color is Orange.(not Red)

	S	M	L	XL
Length	66.0	70.0	71.0	72.0
Width	50.0	56.5	61.0	64.5
Sleeve Length	59.0	59.0	59.0	59.0
shoulder width	49.5	55.0	59.0	65.0

Japanese Balearic Masterpiece ('93) is re-pressed on Clear Blue Vinyl! HIROSHI II HIROSHI" is a unit of Hiroshi Fujiwara and Hiroshi Kawanabe (Tokyo No.1 SOUL SET). This is their chill-out~Balearic classic (EP), which was distributed as a picture disc with a vinyl jacket at the time, and is now a popular and expensive item on the second-hand market. The EP features "H2O," the first track that takes you to a fictional resort with its gentle guitar strumming, and "Beauty & Beast + Bagle (Dub)," an exquisite summer resort dubwise track with melting sounds and the melancholy of the sun in the west. The album also includes six evergreen songs that pioneered the Café Del Mar craze that later spread throughout Japan. The artwork is a faithful reproduction of the CD-era design by Hiroshi Nagai.

Essential jazz album among the influences of the future-jazz quartet Sleep Walker by trombonist Hiroshi Suzuki. “Variation” is a joint project including the legendary jazz drummer Masahiko Togashi featurig pianist Yuji Ohno, saxophonist Jun Suzuki and trumpeter Tetsuo Fushimi.

ZamZam 95 is a link with the enigmatic French producer Hiss Is Bliss. We’ve been fans since the very first drop on their 777Hz label and these two sides drive straight to the heart of the dub techno galaxy. Little is known about Hiss Is Bliss beyond the fact that they hail from France, are steeped in esotericism, and create tunes as masterfully grounded in roots reggae as they are in techno and related strands of electronic music. Their releases are utterly free of hype, beautifully crafted 10” vinyl plates that let the singers and tracks speak for themselves. At the risk of being cheeky, “Nope” is absolute dub techno bliss. The 808 kick propels the track relentlessly forward, saturated washes of color streak the night sky, while syncopated hi hats and warm, soulful chords bring life- dare we say funk- to a style too often stiff and clinical, too in thrall to the past to truly step forward. Matching Hiss is Bliss in mystery, Ras Lys’ vocal brings a Dread perspective on music and the sometimes shady business of music, a grounded contrast to the deep inner space explored by the tune itself. The B-side version “Abbadia” splits musical atoms through the desk, focusing squarely on the stripped 4/4 elements and gloriously distorted pads that echo and cycle like tides in a darkly shimmering sea.

Detroit’s baddest yungers get down on their ones with a 2nd self-released volley of modern ghetto-tech and hyperlocal jit, reprising the road-ready sound of the late ‘90s and early ‘00s for new crowds hungry for this shit

Including a killer 2024 single indicative of what to expect in the tabla and jazz key puckered slam of ’SPANK!’, the 14-track ‘Honeypaqq Vol.1’ says its bit in a brisk half hour of scudding subs and sampler chops racked up at 160BPM. The levels are typically up there and lyrically lascivious from the bucking ace ‘Take Yo Panties Off’ to the ruthlessly sped-up R&Bop ‘Freak in Full Effect’, deftly reinterpreting and factoring the groundwurk of DJ/producers Funk, Assault, Rashad and Maaco for 2020s needs.

Since staking their sound with two LPs for Omar-S’ FXHE and a ruck of acclaimed live shows, Hi Tech have become standard bearers for a brand of ghetto house that found international favour some 25 years ago and long since long bubbled away in the background. The trio of King Milo, Milf Melly and 47chops aka Hi Tech are almost single-handedly responsible for renewed interest in this zone, paralleling the pace and intent of Chicago’s renowned footwork sound with similar but distinctively jazzy Motor City tekkerz.

Trust it twerks and fizzes in all the right places. Putative jit and deb dualities juke it out in the itchy but sublime ‘Norf Cold 304’s’, while they balance bebop and crunk in ‘New Jazz Schmell’ and snap to quicksilver electro-soul in ‘Empty Bus Stop’, or push out into that sort of weirdo scuttle that the 313 does so well on the spooked-out ‘Adultswim Doctor Etrange’ or ‘Queenbootyathenaaphrodite’, saving a superb sting in the tail for ’Shadowrealm.’

Subtropic Cosmos is the international debut album by Japanese artist Hitomi Moriwaki. Composed and recorded at her Fukuoka home during the worldwide pandemic between 2020-2022, the album was produced by Hideki Urawa, who has also worked with Kikagaku Moyo and other musical acts on Guruguru Brain. "Subtropic Cosmos" in particular is a wonderful work that conveys the "joy of making things" to listeners, as it is filled with various influences from her diverse activities. As suggested by the album title, most of the songs were created under the unprecedented conditions of corona--and as a result, were inspired by the consciousness of traveling through imaginary foreign lands and nature. As if adventuring through the universe inside of her own mind, Moriwaki's versatility is best experienced through her fearless fusion of hip-hop, pop and experimental music. Through a lens of psychedelic production by Hideki Urawa, this album is a truly special, one-of-a-kind space experience for listeners to enjoy and embark upon.

Swedish producer HNNY (real name Johan Cederberg) releases his debut album 'Sunday' on Omena Records, a label set up by Tobias 'Tooli' Lidstrom. The ten track debut album continues an ongoing partnership between HNNY and Omena Records that started in April 2014 when the 12" 'Always' was released which also marked the starting point of the label. Sunday is released as a 180 g vinyl edition in gatefold sleeve.

Hoavi channels the solitude of nature in winter direct from his native city of St Petersburg, Russia on his 11 part album “Posle Vsego” - Quiet Time’s first release of the year. This collection of works from 2013 to 2020 departs from his recent work, forgoing dubby jungle breaks for more abstract ambience comprised of layered analog synths and sample recordings. Hoavi’s moody ambient has a warm retro feel to it, but is decidedly unique and contemporary in its composition and mood. Like a walk through a forest in winter, it feels lonely and foreboding, yet simultaneously serene and full of beauty.

Chaoui is a genre of Berber music that originated in the Aurès region of Algeria. It is a mixture of Saharan and Atlas mountain music marked with dancing rhythms and is part of the oral living tradition of the Aurès region. The first recordings on magnetic tape date back to the 1930s when Aissa Jermouni’s music was introduced and published internationally. Over the years, Chaoui has given birth to various sub-genres. The genre was popularized in the 1930s and 1940s, and still generates a strong following of fans across the country and especially in the Aurès region in the 2000s. In its most frequent instrumental configuration, a chaoui music group includes a zorna, a gasba flute, a bendir and one or more singers. Originally, Chaoui musicians were shepherds who lived in the Aurès mountains, and they sang their own localized poetry of personal and regional topics. But also, joyful themes such as local or religious festivals or in the context of Chaoui weddings. Hocine Chaoui is one of the genre’s most famous and respected musicians and poets. ,Hocine modernized his sound with drum machines, incorporating intense and modern production techniques with phased gesba flute, reverbed out vocals, taking the genre to its logical new phase. This LP is a reissue of one of the most “in demand” of the genre’s cassettes originally released by Oriental Music Production, a cassette label dedicated to the some of the best regional releases during the heyday of the 80’s and 90’s golden era of rai and local Algerian music cassettes. These releases were only ever released on cassette and now command a premium on the collector’s market.

On August 11, 2023, Merge Records will release Happy Hour in Dub, a heavenly set of dub versions to pair with Hollie Cook's critically acclaimed 2022 album Happy Hour. Her first full dub record since 2012, Happy Hour in Dub was coaxed into being by close listening of the original album's modern lover's rock.Cook and Mckone explain: "The reason and inspiration for wanting to make the dub record is because Happy Hour, in its original form, has so many intricate musical details running throughout the songs—from the backing vocal and string arrangements to some far more subtle details. And during the mixing process, hearing some of these parts on their own over the drum and bass foundation, we felt there was so much left to explore and expose in the songs and take them to outer space."At the controls rejoining Hollie in exploring the space is Happy Hour producer Ben Mckone, who takes her soulful creations and stretches them to their sonic limits, with new vocal features by Josh Skints and Kiko Bun.

Punk Slime Recordings are proud to present the debut album from Gothenburg quintet Hollow Ship, the follow-up to the acclaimed debut 7” We Were Kings from late 2019. Due on April 3, Future Remains is a massive introduction from the band, showcasing their unique take on psychedelic rock which sounds like nothing else around, expertly produced by Hollow Ship together with Mattias Glavå (Dungen etc) on the majority of the album and working with Daniel Johansson on opening track “Take Off”.

A lot of new bands take their time in finding their feet; working their way slowly to the sound they want to project, and figuring out what it is they want to say gradually, as they go along. Not this one, though - both sonically and thematically, Future Remains sees them storm out of the gate with a crystal-clear mission statement. Somewhere in the space behind a well-worn eight-track recorder and the polish of present-day production, Hollow Ship have lift off.

It’s an album about roads, roots, paths and emotions, the ones you’re not used to feeling everyday. But most importantly it is about change, about the inner force one discovers when forced to transform. After finding out he had to move out his beloved Resonance Jungle Studio, Hollyspleef decided he had to make one last record before the big move. Exploring his inner self through R&B, Jazz, Trip Hop, Footwork and Trap he delivers yet another gem.

Holy Hive released two full length albums and one EP in the short span of 3 years and then they decided to disband. In 2019, while recording their debut album world renown harpist Mary Lattimore was in NY. They got together in the studio on a whim and wound up recording their Harping EP in a few days. They followed that up with their 2020 full length debut Float Back To You which became an instant cult classic and defined their unique “Folk Soul” sound. Frontman Paul Spring’s tender falsetto and maverick guitar playing over Homer Steinweiss’ incomparable drumming and production proved to be a match made in heaven and created a sound that piqued the ears and charmed the hearts of all those who heard it. By the time they started recording their sophomore album COVID, commitments, and life started taking their toll on the band. Spring and Steinweiss took their sound and pushed it way forward on their eponymous 2nd album keeping the anchor of their sound they established while exploring where else they could take it. Unbeknownst to the public by the time that record was released the band was done and had moved on to other things individually. While fans will undoubtedly not like this news, we will all have the timeless music they made while together, and, prolific they certainly were… Big Crown Vaults Vol. 3 : Holy Hive digs into the treasure trove of unreleased recordings and pulls some that never saw their way to vinyl and in all honesty, this is not even half of what is in there. These recordings were made during their two album sessions largely, some were recorded before they even signed to Big Crown. The compilation kicks off with the tune that started it all on the label, their smashing cover of The Invincibles “This Is My Story” that was previously only on a 7”. “Love It Is Not Love”, “Middle Of The Night”, “Celeste”, and their cover of “Kingdom Of The Sun” all feature guest vocals by Shanny of The Shacks who had started playing bass with them at their live shows and sitting in on a lot of the recording sessions. “The Shame” features Robin Pecknold of Fleet Foxes on bass and El Michels Affair on flute, the latter also plays on “A Perfect Space”. At one point in time the would turn the live show over to Paul Spring who would perform the Irish folk tune “Red Is The Rose” in a traditional style with just him singing and playing acoustic guitar and then launch into their rendition of the song that is on Float Back To You. That stripped down version is featured here on Vaults Vol. 3. The comp finishes poetically with “End Of Time” and it is unlikely that we will ever release the rest of what is sitting in the vault. On behalf of ourselves and all the fans we’d like to take this time to thank Holy Hive for the gorgeous music they made together. We will continue to enjoy it forever. Of course as individuals everyone involved from the core members to the people who lent their talents to certain songs continue to make music. Find them, follow them, enjoy their music.

Holy Springs are a shoegaze band from London who, after a mini album tape release Indoor Tapes, go for the big one with E.A.T. The three-piece create typically submerged dream-pop with nods to My Bloody Valentine and The Brian Jonestown Massacre alongside instrumental interludes which show their love of electronic music. Very promising.

Holy Tongue are a trio composed of Valentina Magaletti, Al Wootton and Susumu Mukai. Accomplished musicians in their own right, they combined to create psychedelic, free-form, high energy, spiritual dub-dance music across a trilogy of critically acclaimed EPs and their debut album Deliverance and Spiritual Warfare. Their high energy live performances invoke the experimental dub of On-U-Sound, the frenetic rhythms of 23 Skidoo, Liquid Liquid and ESG, and the spiritual energy of free jazz. The trio’s dynamic collaboration extends in their meeting with Shackleton, one of the most original and critically lauded voices in electronic music. Shackleton has moved from the depths of the early 2000s dubstep underground to a diverse range of international collaborations and commissions over the last two decades. After honing his hypnotic beats on the cult UK record label Skull Disco, his unique rhythmic touch is now heard on some of the most adventurous and progressive projects that have emerged from the European dance scene in recent years. Shackleton’s work explores conceptual and spiritual themes with an emotional depth beyond most artists working in European dance music today, and his visions of inner space, apocalypse and dread are more timely than ever before. This record was conceived after Holy Tongue and Shackleton shared a festival line up in Sweden. Holy Tongue were initially keen to get Shackleton to remix one of their existing tracks but they soon decided to have a project together and work on some fresh new music, allowing Shackleton to do something more creative with it in the studio. Thus Holy Tongue recorded a collection of raw material in the studio and sent it to Shackleton. The result is far more than the sum of its parts. A psychedelic, ritualistic, dub trip, oscillating between the maximal and the minimal, the internal and the external, the micro and the macro, ecstasy and agony, all the tumbling psychic joy of now.

Mbalax is a genre of dance music that is primarily performed in Senegal and The Gambia. Here we have re-interpretations of the mesmerizing master drumming rhythms from Holy Tongue, Beatrice Dillon, Lamin Fofana and LABOUR. Holy Tongue (Al Wootton, Susumu Mukai, Valentina Magaletti) take things in a heavy post-punk dub direction - think On-U Sound and 23 Skidoo. Beatrice Dillon electrifies proceedings in a Mark Fell/Gabor Lazar/Rian Treanor style. Meanwhile, Lamin Fofano hypnotizes with two psychedelic revisions and LABOUR ramps up the intensity with two perspectives on the same drum rhythm.

Suicide Squeeze is thrilled to deliver a reissue of Interloper, the 2020 album from Holy Wave. Interloper sees Holy Wave adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on its most esoteric and thought-provoking themes. "I'm Not Living in the Past Anymore" is a mantra about breaking the cycle of the mundane, and "Escapism" is a dream-like meditation. "Interloper" serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward to blissed-out moments on album opener "Schmetterling," the saccharine haze of "R&B," and the freak-out catharsis of live favorite "Buddhist Pete." With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He’s now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reflection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was significant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The first song from these sessions, “Now That It’s Over” perfectly sums up Homer’s triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo—aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts “Deep Sea”, a modern love song, “Start Select”, a juxtaposition of inspiration and melancholy, and “Forever and Ever and Ever and Ever” which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on “Racecar Driver”, pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener “Rollin’”, an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on “So Get Up!”, a bottom heavy infectious track that MINOVA’s vocals turn into an instant hit that is sure to smash speakers. On “Wishing Well” & “Hide It Behind the Light I’m Shining Through” Homer is joined by girl named GOLDEN, who’s unique voice effortlessly finds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer “Goldie” which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and influences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this first solo offering is just the beginning of his next chapter.