MUSIC

〈Honest Jon's〉が60年代に南米エクアドル・キトで活動していた知られざるスイートスポット的レーベル〈Caife〉に残された魅力的なカタログを紐解いたシリーズから新たな発掘音源が登場！アフリカ先住民の伝統と豊かな音楽の伝統が融合した、エクアドル北端エスメラルダス州のユニークなアフリカ系エクアドル文化の素晴らしい記録を収めたアルバム『Juyungo』がアナログ・リリース。マリンバを中心に、コール&レスポンスのチャント、アンデスのギターのフィンガースタイル、パンパイプなどによる深い没入感に溢れる音楽作品を余すところなく収録。ゲートフォールド・スリーヴ仕様。洞察に満ちたメモと貴重写真が満載のブックレット(16ページ)が付属。

Now on the cusp of his third solo album, Norwegian saxophonist Bendik Giske knows himself well. With his new, self-titled record, he is in his prime as an artist: confident in his voice and abilities, buoyed by critical acclaim from all corners – including two Norwegian Grammy nominations – and a surge in audiences everywhere. With the intriguing choice of Beatrice Dillon as album producer – clearly the British electronic musician is a fellow traveler in the practice of original aesthetic expression – her influence is immediate and keenly felt. Together, they strip away a layer of melodicism, honing in on pattern and rhythm to bring out a different dimension of his mesmerizing sound. While again working with single-take recordings, no overdubs, only saxophone and his body, gone is the reverberant space and mellifluous glamor. Giske finds the result akin to musical full-frontal nudity – every detail, every huff and puff audible, no obscuring, no aestheticizing. People may look away when it’s not as pretty, but what’s left feels more present and potent. Confrontational, it demands greater attention, but through its physicality – you can hear and feel his body in the music – it takes you to a flow state, somewhere between ecstasy, elation, and spiritual awakening. Intensely human, there’s stark tension there, too – there always will be when fighting for existence and validity – elegantly illustrated by Florian Hetz’s striking photographs of the artist on the covers of the release. In part, Giske is inspired by Judith Halberstam’s The Queer Art of Failure. As much as he has benefitted from his training and participation in the environment of the jazz conservatory, his path took him far outside its confines. Working these new explorations with his instrument has been a ten-year process of peeling away what he knew ultimately didn’t fit, finding the sonic territory of his lived experience. What emerged were systems that allowed for studies of tempo and proportion, a starting point for an immersive improvisatory approach, mapping years of musical probing. It’s the sound of social emancipation through the meditative pulse and velocity of circular breathing and the dance of the body, especially fingers, tongue, and lips. Giske knows that music can be a powerful tool in bringing people together to find ideas, and the longevity of his project is at its utmost a call for care, togetherness, storytelling, and the ability to gather for a shared cause. In all earnestness, Bendik Giske is a proposal for truthfulness and existence, a space for one to express their most profound self.

Sacred flutes are blown ("Windim Mambu'') to make the cries of spirits by adult men in the Madang region of Papua New Guinea. Pairs of long bamboo male and female flutes are played for ceremonies in the coastal villages near the Ramu River. The Ravoi Flutes from Bak are accompanied by two garamut carved wooden slit gongs. The Waudang Flutes from Manam Island are accompanied by two large and two small slit gongs and six singers. The Jarvan Flutes from Awar are accompanied by a shell rattle. The Mo-mo resonating tubes were recorded in the Finisterre Range. There are the cries of six different pairs of flutes and one pair of conch shells from the Ramu coast, two pairs of Waudang Flutes from Manam Island with singing and Mo-mo resonating tubes from the Finisterre Range. Occasional percussion is provided by wooden slit gongs and hand drums. These recordings were made in 1976. Originally released on LP 1977 as !Quartz 001 & 1979 as !Quartz 002, Quartz Publications by David Toop with the assistance of Sue Steward, Evan Parker, Robert Wyatt and Alfreda Benge. Re-released on CD 1999 as Rounder Records 5154 & 5155.
ぜひお聞きください。

Japan’s KAKUHAN deliver a futureshock jolt on their incred debut album ‘Metal Zone’ - deploying drum machine syncopations around bowed cello and angular electronics that sound like the square root of Photek’s ‘Ni Ten Ichi Ryu’, Arthur Russell’s ‘World of Echo’, Beatrice Dillon’s ‘Workaround’ and Mica Levi’s ‘Under The Skin’ - or something like T++ and Errorsmith dissecting Laurie Anderson’s ‘Home Of The Brave’, her electric violin panned and bounced relentlessly around the stereo field. It really is that good - basically all the things we love, in multiples. While "Metal Zone" might be their debut, KAKUHAN are hardly newcomers. Koshiri Hino is a member of goat (jp), releasing a run of records under the YPY moniker, and heading up the NAKID label, while Yuki Nakagawa is a well known cellist and sound artist who has worked with Eli Keszler and Joe Talia among many others. Together, they make a sound that’s considerably more than the sum of its parts - as obsessively tweaked, cybernetic and jerky as Mark Fell, frothing with the same gritted, algorithmic intensity as Autechre's total-darkness sets, stripped to the bone and carved with ritualistic symbolism. The album’s most startling and unexpected moments come when KAKUHAN follow their 'nuum inclinations, snatching grimey bursts and staccato South London shakes and matching them with dissonant excoriations that shuttle the mind into a completely different place. It's not a collision we expected, but it's one that's completely melted us - welding obsessive rhythmic futurism onto bloodcurdling horror orchestration - the most appropriate soundtrack we can imagine for the contemporary era. By the album's final track, we're presented with South Asian microtonal blasts that suddenly make sense of the rest of the album; Nakagawa erupts into Arthur Russell-style clouded psychedelia, while wavering flutes guide bio-mechanical ritual musick formations. It’s the perfect closer for the album’s series of taut, viscous, and relentless gelling of meter and tone in sinuous tangles, weaving across East/West perceptions in spirals toward a distinctive conception of rhythmic euphoria with a sense of precision, dexterity and purpose that nods to classical court or chamber music as much as contemporary experimental digressions. Easily one of the most startling and deadly debuts we’ve heard in 2022; the louder we’ve played it, the more it’s realigned our perception of where experimental and club modes converge - meditative, jerky, flailing genius from the outerzone. Basically - an AOTY level Tip.

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo’s newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. 

It’s not very common to find a female singer performing publicly among the Peulh. But Poulo’s mother’s co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo’s entree into the music world was auspicious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo’s first internationally-distributed record. 

On Poulo Warali, she and her band combine the hallmarks of Peulh music―warm flute floating over cross-rhythmic n’goni (lute) riffs and resonant calabash gourd hand percussion―with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shape-shifting layers of rhythm and woody overtones match Poulo’s commanding voice in a jocular yet deliberate dance. 

This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. 
Poulo’s conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali’s melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.

NTS presents European Primitive Guitar, a compilation of instrumental guitar compositions, mapping out European analogues of the American Primitive Guitar movement, spearheaded by John Fahey in the 1950s. European Primitive Guitar spans works directly influenced by and responding to Fahey’s approach to composition, alongside works by artists that arrived at similar conclusions independently. The music is, at once, both starkly traditional and contemporary. This is no more evident than with the opening song on the compilation, Spanish guitarist Albert Giménez’s 1982 composition Conte Xinès. The song draws on numerous idioms of music - flamenco, jazz, ambient music, and guitar soli - within its shimmering arpeggios, culminating as a decidedly Spanish music that has collected the ephemera of the guitar’s travels before returning home. The compilation also explores wider ideas around experimentalism happening in Europe during the time of this anthology. German composer Hans Reichel not only developed new ways of playing the instrument, but also new ways of building guitars - pushing the boundary of what a guitar could be and how it could sound. Ahead of its full release, listen/download material from Maurizio Angeletti (Italy, 1983), Albert Giménez (Spain, 1982) and Peter Finger (Germany, 1974). The physical release is accompanied by an extended essay from The Hum’s Bradford Bailey.

A split CD commemorating the Japan tour by MARK FELL, RIAN TREANOR, and KAKUHAN in September and October 2023 is now available!

Known as a giant of electronic or experimental techno music since the 90's, they have released many works on labels such as Mille Plateaux, Line, Mego, and Raster Noton. In recent years, Mark Fell has been going beyond the boundaries of "techno" to offer a truly "modern" sound.
In 2023, NYEGE NYEGE TAPES will release "Saccades," a collaboration with Ugandan/Acholi fiddle player Ocen James, and RIAN FELL is creating music at the intersection of club culture, experimental art, and computer music, with new deconstructions and linkages. RIAN TREANOR creates music that involves new deconstruction and interlocking from the intersection of club culture, experimental art, and computer music.
KAKUHAN (Koshiro Hino and Hiroki Nakagawa), who started his activities in 2022 after various collaborations, "stirs" as the name implies, the poles/tunes possessed by various types of music such as "electronic music/strings," "contemporary music/club music," "composition/ improvisation," etc. that the unit is equipped with.
This 9-song split CD, which includes completely new compositions by these three artists, is not a mere "split (mish-mash)," but rather an approach that transcends and melds the boundaries of "physical/metaphysical" on the periphery of music after techno music is evident in each of the compositions. The ongoing attitude of the three artists toward music is truly and casually expressed in this work, which should be listened to beyond genres.

The long-awaited CD version of the album includes two newly remastered bonus tracks that were only included on the cassette tape version! Japan’s KAKUHAN deliver a futureshock jolt on their incred debut album ‘Metal Zone’ - deploying drum machine syncopations around bowed cello and angular electronics that sound like the square root of Photek’s ‘Ni Ten Ichi Ryu’, Arthur Russell’s ‘World of Echo’, Beatrice Dillon’s ‘Workaround’ and Mica Levi’s ‘Under The Skin’ - or something like T++ and Errorsmith dissecting Laurie Anderson’s ‘Home Of The Brave’, her electric violin panned and bounced relentlessly around the stereo field. It really is that good - basically all the things we love, in multiples. While "Metal Zone" might be their debut, KAKUHAN are hardly newcomers. Koshiri Hino is a member of goat (jp), releasing a run of records under the YPY moniker, and heading up the NAKID label, while Yuki Nakagawa is a well known cellist and sound artist who has worked with Eli Keszler and Joe Talia among many others. Together, they make a sound that’s considerably more than the sum of its parts - as obsessively tweaked, cybernetic and jerky as Mark Fell, frothing with the same gritted, algorithmic intensity as Autechre's total-darkness sets, stripped to the bone and carved with ritualistic symbolism. The album’s most startling and unexpected moments come when KAKUHAN follow their 'nuum inclinations, snatching grimey bursts and staccato South London shakes and matching them with dissonant excoriations that shuttle the mind into a completely different place. It's not a collision we expected, but it's one that's completely melted us - welding obsessive rhythmic futurism onto bloodcurdling horror orchestration - the most appropriate soundtrack we can imagine for the contemporary era. By the album's final track, we're presented with South Asian microtonal blasts that suddenly make sense of the rest of the album; Nakagawa erupts into Arthur Russell-style clouded psychedelia, while wavering flutes guide bio-mechanical ritual musick formations. It’s the perfect closer for the album’s series of taut, viscous, and relentless gelling of meter and tone in sinuous tangles, weaving across East/West perceptions in spirals toward a distinctive conception of rhythmic euphoria with a sense of precision, dexterity and purpose that nods to classical court or chamber music as much as contemporary experimental digressions. Easily one of the most startling and deadly debuts we’ve heard in 2022; the louder we’ve played it, the more it’s realigned our perception of where experimental and club modes converge - meditative, jerky, flailing genius from the outerzone. Basically - an AOTY level Tip.

Kakuhan, a unit of Hino and Hiroki Nakagawa, has released a self-released CD, which has been sold exclusively at live venues, on "Nakid," a hot label run by Koshiro Hino, who is also well known for his activities with goat and YPY and for running "birdFriend," and has released such powerful artists as Keith Fullerton Whitman and Mark Fell & Will Guthrie. The CD is a self-released CD by Kakuhan, a unit consisting of Hino and Hiroki Nakagawa, which has been sold exclusively at live venues and has won critical acclaim!

The CD includes a live performance by KAKUHAN, a unit consisting of YPY, Hino Koshiro, and cellist Nakagawa Hiroki, at the "Feldman meets freq 2022" event held at Kyushu University in February 2022.
KAKUHAN's first album "Metalzone", released at the end of 2022, was voted the 5th best release of 2022 by Boomkat and the 5th best album of the year by Music Magazine in the best electronic music category. The CD contains a total of six songs, including the previous night's "Prototype," a song from the same album, and includes a song that can only be heard on this CD.
As the unit name suggests, the various elements of both artists' activities-"electronic music/strings," "contemporary/club music," "traditional/contemporary," "physical/metaphysical," "composition/improvisation"-are literally "stirred" in the performance. It is highly recommended to listen to it together with "Metalzone"!

The explorer Walter Maioli makes his most amazing adventure, the journey to the center of the Earth. Retracing the exploits of the Platonic demiurge, he identifies in the cave the deepest meaning of myth. Primordial sounds, not shadows, are at the center of this magical path straddling geology and Paleolithic polyphony. The recordings between 1985 and 2002 capture the sonic imperceptibility of the great subterranean womb, investigate the secret dialogue between the trickling of pond waters and the faint percussive reverberation of stalactites and stalagtites. Rocky sediments are played as tubular organs, glockenspiels, xylophones or stone marimbas. Crystalline timbral variations and subtle microtonal passages recall the chimes of Tibetan gongs and bells, of the scales of Java and Bali. Amidst muffled pauses and silences, trills and rings, echoes and tremolos, hisses and pops of vibration, Maioli builds his most imaginative niche of sound, a magnetic and telluric chant that is pure symphony and archetypal synaesthesia. Co-produced with Holidays Records.

The explorer Walter Maioli makes his most amazing adventure, the journey to the center of the Earth. Retracing the exploits of the Platonic demiurge, he identifies in the cave the deepest meaning of myth. Primordial sounds, not shadows, are at the center of this magical path straddling geology and Paleolithic polyphony. The recordings between 1985 and 2002 capture the sonic imperceptibility of the great subterranean womb, investigate the secret dialogue between the trickling of pond waters and the faint percussive reverberation of stalactites and stalagtites. Rocky sediments are played as tubular organs, glockenspiels, xylophones or stone marimbas. Crystalline timbral variations and subtle microtonal passages recall the chimes of Tibetan gongs and bells, of the scales of Java and Bali. Amidst muffled pauses and silences, trills and rings, echoes and tremolos, hisses and pops of vibration, Maioli builds his most imaginative niche of sound, a magnetic and telluric chant that is pure symphony and archetypal synaesthesia. Co-produced with Holidays Records.

Lamin Fofana has been killing it over the past few years with ace records on Hundebiss, Avian, Peak Oil and The Trilogy Tapes to name but a few. Here he unites with The Doudou Ndiaye Rose Family (check their Twenty​-​One Sabar Rhythms), respectfully and sensitively applying his electronic magic to the mesmerizing mbalax drumming, taking things even further into cosmic realms - somewhere between Mark Ernestus Ndagga project, T++, Jon Hassell and Popol Vuh.

A key document of the late ’70s experimental music scene in Kansai, Japan, R.N.A. Organism’s R.N.A.O Meets P.O.P.O (first released by legendary Osaka label Vanity Records in 1980) is a hallucinatory trip of dubby bass, churning guitars, sputtering rhythm boxes, twisted vocals and unidentifiable sound effects. With the vinyl out of print for decades now, Mesh-Key is honored to present this deluxe, fully authorized reissue, sourced from the miraculously well-preserved, original reel-to-reel tapes. Carefully remastered by Stephan Mathieu, this album has never sounded better.

In 2018, Rian Treanor left his home in Rotherham, UK, and headed to Kampala for a residency at Nyege Nyege's villa studio. The mind-expanding experience inspired his critically acclaimed 2020 full-length "File Under UK Metaplasm", but that wasn't the end of the story. Treanor also spent time working alongside Acholi fiddle player Ocen James, developing an improvisation-heavy collaboration that would push both musicians' idiosyncrasies into completely new places. Treanor wanted this collaboration to be as tactile and reactive as a live performance with traditional instruments, so he set about working on a digital process that would synchronize with James' approach. Using physical modelling techniques, Treanor created an instrument that explored the tunings and sounds of the a'dungu, an arched harp, and the nah or nag. With Ocen playing his rigi rigi, a single string violin, they intuitively experimented with the spectral properties of sound, using texture and acoustic contours as their structural framework. They were able to develop a sound together that was unconventionally rooted in traditional Ugandan culture, but shuttled into different dimensions of noise, computer music and radical UK rave. "Saccades" is the buffer between two vastly different sonic universes, united in respect and sprightly curiosity. Treanor's hyperactive computer-controlled rhythms are immediately identifiable on opening track 'Bunga Bule', but the sound palette is distinct: it's more flexible and less digital. James' expressionistic fiddle strokes are a revelation, contorted into hoarse squeals and rough vibrations that rub and flex off Treanor's tin can shuffle. The fertile back and forth continues through the ruff DSP tumble of 'As It Happens', before James cracks open the melodic core of his instrument on 'The Dead Centre', allowing Treanor to dispense with rhythm and meet his fiddle strokes with heavenly drones. Each track steps down a different avenue for the two artists, from the nightmarish microtonal twang of 'Memory Pressure' to the 4AM inverted sci-fi club pressure of 'Naasaccade' and the folky dancefloor swing of 'Rigi Rigi'. And when the album closes on a cacophonous remix from Vienna laptop noise pioneers Farmers Manual it's an unexpected gift that makes perfect sense. "Saccades" is a cross-cultural collaboration that swerves simplicity but refuses to over-complicate itself - it's about interaction, improvisation and passion.

Composed and performed by Valentina Magaletti Recorded by Thomas Poli at Impersonal Studio - February 5th and 6th 2021 (Rennes - FR) Mixed and edited by Leon Marks and Valentina Magaletti at Abbey Road (London - UK) Mastered by Brice Kartmann (Tours - FR) Published by Mute Song.

Before I’m gone I’d like to see us turn the corner and give up being spoilers of the land . . . In 1975 Wallace ‘Wally’ Smith Broecker published a paper that popularised the term ‘global warming’ and against a backdrop of change and environmental uncertainty, a musical concept album was commissioned. ‘Wilderness America / A Celebration of the Land’ - is a musical exploration of our place within the cycle of living things. All compositions were specially commissioned for the album and blended with natural sounds recorded in the wild – lending the entire project a conceptual air that still feels fresh today. The journey begins with the sun rising in the atmospheric haze of 'Dawn' - a track composed by new-age innovator Iasos. Gospel singer Walter Hawkins soon drops in with the soulful but ever so funky 'Metropolis' backed by a heavy array of session musicians with Patrick Gleeson, Ed Bogas and Tom Salisbury all adding their own misty magic to the album. David Riordan is the sorcerer conjuring up many of the compositions and also takes vocal duties on the evocative 'Mountain' and the climatic 'Before I'm Gone'. ‘Wilderness America / A Celebration of the Land’ was born when environmentalist Emily DeSpain Polk assembled a group of California residents to participate in a groundbreaking conservationist project. Christening the group SWAP (Small Wilderness Area Preservation) Emily needed funds and began a project to produce a promotional nature based music album. To acquire the financial backing Emily would need to source a musician of some calibre. Contacting Cliff Branch from ‘Warehouse Sound Co.’ she was told the man she was looking for was David Riordan. David Riordan had been around the music business for several years, first with The Yankee Dollar, then Sugarloaf and then Sweet Pain, he saw huge success with the single 'Green Eyed Lady'. David had worked on Cliff Branch’s 'Warehouse Sound Co. & Friends' albums and then released his solo album, 'Medicine Wheel'. But bored of touring he made the move to more concept-driven albums. First with ‘Christmas in San Francisco’ and then, in quick succession, 'Wilderness America, A Celebration Of The Land'. Riordan, along with Peter Scott, a music producer friend in San Francisco, began piecing together an idea for the album. They brought in Ed Bogas to do string arrangements and Tom Salisbury to conduct. David had also asked his friend Patrick Gleeson if he knew of any R&B/Gospel singers in the Bay Area, and they soon added gospel singer Walter Hawkins into the mix. Other than the track ‘Metropolis’, which was recorded in LA, the rest of ‘Wilderness America, A Celebration Of The Land’ was recorded and mixed by Richard Beggs at the San Francisco studio of Francis Ford Coppola. Coppola was filming ‘Apocalypse Now’ at the same time – so in between studio sessions, the musicians were able to view the seemingly never-ending film rushes arriving from the Philippines. Eventually, the record produced by David Riordan and Peter Scott drifted onto the radar of vinyl obsessives and selectors as several of its key tracks began popping up on mixtapes and sales lists. It wasn’t long before this privately pressed, art-funded masterpiece became something of a holy grail for collectors. At long last, a re-issue of this masterpiece is now available on EBALUNGA!!! Records. Paul Hillery - May 2022 Paul is a heathen, conceivably, but not, I hope, an unenlightened one, who’s handpicked compilation albums have been released on the labels BBE and RE:WARM - he is also the curator at Folk Funk & Trippy Troubadours

Before I’m gone I’d like to see us turn the corner and give up being spoilers of the land . . . In 1975 Wallace ‘Wally’ Smith Broecker published a paper that popularised the term ‘global warming’ and against a backdrop of change and environmental uncertainty, a musical concept album was commissioned. ‘Wilderness America / A Celebration of the Land’ - is a musical exploration of our place within the cycle of living things. All compositions were specially commissioned for the album and blended with natural sounds recorded in the wild – lending the entire project a conceptual air that still feels fresh today. The journey begins with the sun rising in the atmospheric haze of 'Dawn' - a track composed by new-age innovator Iasos. Gospel singer Walter Hawkins soon drops in with the soulful but ever so funky 'Metropolis' backed by a heavy array of session musicians with Patrick Gleeson, Ed Bogas and Tom Salisbury all adding their own misty magic to the album. David Riordan is the sorcerer conjuring up many of the compositions and also takes vocal duties on the evocative 'Mountain' and the climatic 'Before I'm Gone'. ‘Wilderness America / A Celebration of the Land’ was born when environmentalist Emily DeSpain Polk assembled a group of California residents to participate in a groundbreaking conservationist project. Christening the group SWAP (Small Wilderness Area Preservation) Emily needed funds and began a project to produce a promotional nature based music album. To acquire the financial backing Emily would need to source a musician of some calibre. Contacting Cliff Branch from ‘Warehouse Sound Co.’ she was told the man she was looking for was David Riordan. David Riordan had been around the music business for several years, first with The Yankee Dollar, then Sugarloaf and then Sweet Pain, he saw huge success with the single 'Green Eyed Lady'. David had worked on Cliff Branch’s 'Warehouse Sound Co. & Friends' albums and then released his solo album, 'Medicine Wheel'. But bored of touring he made the move to more concept-driven albums. First with ‘Christmas in San Francisco’ and then, in quick succession, 'Wilderness America, A Celebration Of The Land'. Riordan, along with Peter Scott, a music producer friend in San Francisco, began piecing together an idea for the album. They brought in Ed Bogas to do string arrangements and Tom Salisbury to conduct. David had also asked his friend Patrick Gleeson if he knew of any R&B/Gospel singers in the Bay Area, and they soon added gospel singer Walter Hawkins into the mix. Other than the track ‘Metropolis’, which was recorded in LA, the rest of ‘Wilderness America, A Celebration Of The Land’ was recorded and mixed by Richard Beggs at the San Francisco studio of Francis Ford Coppola. Coppola was filming ‘Apocalypse Now’ at the same time – so in between studio sessions, the musicians were able to view the seemingly never-ending film rushes arriving from the Philippines. Eventually, the record produced by David Riordan and Peter Scott drifted onto the radar of vinyl obsessives and selectors as several of its key tracks began popping up on mixtapes and sales lists. It wasn’t long before this privately pressed, art-funded masterpiece became something of a holy grail for collectors. At long last, a re-issue of this masterpiece is now available on EBALUNGA!!! Records. Paul Hillery - May 2022 Paul is a heathen, conceivably, but not, I hope, an unenlightened one, who’s handpicked compilation albums have been released on the labels BBE and RE:WARM - he is also the curator at Folk Funk & Trippy Troubadours