MUSIC

A female project by Hermione Frank, an artist from France/Berlin living in Berlin who is also a famous producer of and who is also a member of and . rRoxymore. The latest album "Perpetual Now" in 2022, the first in 3 years, will be released analog from . An ambitious work packed with her spirit of pushing the boundaries of sound, blurring the lines between electronic and organic. Comprised of four extended soundscapes, each one takes the listener on a journey through tempos, textures and emotional states.

Connecting Wasulu hunter music, griot praises, Senufo pastoral dances, Fula and Mandingo repertoire alongside Western psychedelia, blues and afro-beat, Zani Diabaté’s Super Djata Band was among Mali’s top orchestras of the 1980s. On their 1982 album, Diabaté enshrines himself within the pantheon of mythical West African guitarists, hypnotically picking through eight vivid compositions on his path to godhead status.

The Sator Arepo, or Sator Square, is an ancient word puzzle comprising five palindromes that's etched on various historical sites throughout the Western world. Its origins are unknown, but the square has long been thought to hold magical properties, used as a charm against illness and evil, to cure insanity or to determine whether someone was guilty of witchcraft. Self-styled "punk ethnomusicologist", acoustician and musician Julien Hairon uses this mystical symbol as the starting point for his debut Judgitzu album in an attempt to reconnect with his Celtic heritage, exploring how its hallowed messages might harmonize with contemporary Tanzanian dance music.Hairon has been traveling across the world for over a decade, collecting field recordings from countries such as Indonesia, Australia, Cambodia, China and Bangladesh, and presenting them on his Les Cartes Postales Sonores label, re-issuing any curious cassettes and CDs he came across on the PetPets' TAPES imprint. It was during this time that he became fascinated by rituals that involved spirits, prompting him to examine his own ancestry when he returned to Brittany. "Many artifacts in the landscape remain," Hairon explains, "and the power of spirits is still palpable." He represents this Celtic mysticism on 'Sator Arepo' with murky drones and magickal synth tones, using xenharmonic scales (tuning outside of standard 12-tone equal temperament) that reach back to the ancient world. These sounds are augmented with fast-paced, sci-fi rhythms informed by his time in Tanzania; "Singeli has contaminated me," admits the producer.The most astonishing example of this is 'Miracle', a thrusting soundsystem experiment that layers serpentine, bagpipe-esque electronic wails over extravagant clusters of blocky percussion. Driven by the frenetic 175BPM pulse that echoes through the streets of Dar Es Salaam - popularized globally by forward-thinking producers like Sisso, Duke and Jay Mitta - Hairon opens up a rare conversation, seeking to draw parallels between today's most urgent dance forms and the archaic rituals of antiquity. On 'Vitalimetre', Hairon drives his sonic palette into the red, harmonizing with Dutch hardstyle and gabber, and splaying distorted drones over maddeningly blown-out kicks and ratcheting percussion. 'L'or Des Fous' takes a more meditative route, prioritizing Hairon's eccentric tonality with expressive sheets of pitch-warped sound that ghost walk across energized, rattling beats.If you heard Hairon's last Judgitzu release 'Umeme / Kelele', described by Boomkat as "one of 2019's deadliest dancefloor sessions," then you'll know how mindboggling this material can be. And with 'Sator Arepo', the French producer deepens his reach, grasping a world that we've almost forgotten and juxtaposing it with a landscape most of us barely comprehend.

Numero's Hottest Sounds Around trio gathers castaway late-'70s grooves from across the Greater Antilles. Stan Chaman's Trinidadian Semp concern delivered Wilfred Luckie's wobbly "My Thing" and the Hamilton Brothers' calypso-disco smash "Music Makes The World Go 'Round" in 1978. Across the sea, Frank Penn's G.B.I studio tracked Stephen Colebrook's Doobies-inspired "Stay Away From Music" for the cruise ship curious. All three are housed in a custom Numero sleeve inspired by Edward Seaga's Caribbean music manufacturing and distribution powerhouse WIRL

Numero's Hottest Sounds Around trio gathers castaway late-'70s grooves from across the Greater Antilles. Stan Chaman's Trinidadian Semp concern delivered Wilfred Luckie's wobbly "My Thing" and the Hamilton Brothers' calypso-disco smash "Music Makes The World Go 'Round" in 1978. Across the sea, Frank Penn's G.B.I studio tracked Stephen Colebrook's Doobies-inspired "Stay Away From Music" for the cruise ship curious. All three are housed in a custom Numero sleeve inspired by Edward Seaga's Caribbean music manufacturing and distribution powerhouse WIRL

Numero's Hottest Sounds Around trio gathers castaway late-'70s grooves from across the Greater Antilles. Stan Chaman's Trinidadian Semp concern delivered Wilfred Luckie's wobbly "My Thing" and the Hamilton Brothers' calypso-disco smash "Music Makes The World Go 'Round" in 1978. Across the sea, Frank Penn's G.B.I studio tracked Stephen Colebrook's Doobies-inspired "Stay Away From Music" for the cruise ship curious. All three are housed in a custom Numero sleeve inspired by Edward Seaga's Caribbean music manufacturing and distribution powerhouse WIRL

To say that The Sinseers play oldies would be a misnomer. Fronted by bandleader and son of East Los Angeles Joey Quiniones, the group has quietly chipped away at the sounds of R&B and soul for the last half-decade. Quinones and his crew have continuously created a distinctive vibe that explores all aspects of a timeless genre, bringing together their interpretation of music through an unmistakable modern lens.With their most recent effort, the aptly titled Sinseerly Yours (Colemine 2023), the band recorded most of the album live in the studio. With Quinones on vocals and keys, vocalist Adriana Flores, Christopher Manjarrez on bass, Francisco Floreson on guitar, Bryan Ponce on guitar and vocals, Luis Carpio on drums and vocals, saxophonists Eric Johnson and Steve Surman, and Jose Luis Jimenez on trombone, The Sinseers achieves their most fully realized sound to date.All of the album's stunning tracks were recorded in a converted studio space in Rialto, California, known as Second Hand Sounds. The converted studio space, which used to be a dentist's office, allowed the group to experiment with their sound like never before - this time, the group managed to take a series of big swings, only to emerge with a fuller, more pronounced version of themselves. Despite those new strides, the band remains wholly committed to its sonic aesthetic while injecting its brand of vibrant 21st-century cool.Of course, the group has never been the type to shy away from their influences as they expertly toggle between 60s pop vis-à-vie early Beatles records to obscure dancehall Jamaican tunes - all fully extrapolated and reinterpreted through modern Chicano soul sound that the group has built their everlasting repertoire on.Quinones and bandmates have continued to apply what they've learned from their previous releases and their relentless touring schedule throughout the country. It's clear here that the work is paying off, putting to practice their musical chops thoroughly with all members expertly honing their sound. The melting pot of ideas is showcased with incredibly lush orchestrations and arrangements, married with pitch-perfect harmonies, allowing the group to further solidify themselves in the pantheon of the Southern Californian songbook.

Big Crown Records is proud to present Zero Grace, Liam Bailey’s sophomore album on the label. Following the success of 2020’s Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo-fi recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push. With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener “Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. “Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance floor with him. “Disorder Starts At Home” is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope. Bailey has managed another album that moves across genres but remains entirely cohesive. The title Zero Grace represents his uninhibited energy. He wears his heart on his sleeve, he speaks his mind without filters, and he has little concern for formalities where his ambitions are concerned. He won't be held back ever. One thing is for sure, his talent speaks for itself, and it is on full display on this album.

With a few more instrumental solos than regular Lobo albums, Cantiga De Longe takes advantage of the genius of the arranger/instrumentalist Hermeto Pascoal. The album has other stars, including percussionist Airto Moreira and drummer Cláudio Slom. There are several important songs on this album: "Casa Forte" (which would be recorded later by Flora Purim), "Mariana, Mariana," "Cantiga de Longe," "Zanzibar," and others. Not Lobo's biggest hits, but beautiful melodies and lyrics on an album with stronger instrumental support.

Milan's Palalido, 1981 crackles with Kraftwerk's Computer World tour. Robotic rhythms, neon lights, anthems like "The Model" and "Numbers" ignite. A time capsule of synthpop mastery, future sounds live.

When his Brazilian LP first appeared on Philips in 1967, both Gal Costa and Caetano Veloso had released only a few singles individually, so this is the first long player from either of them. Although presented as a team effort, this LP is actually mostly Caetano Veloso’s work, with him composing, performing and arranging most of the songs. Gal is featured as the solo vocalist on a few tracks and there are a few duets. These are almost art songs with a tropical wrapping, sometimes defying normal pop song convention by quickly fading out after only 90 seconds or so without a hook or chorus to grab onto, but there’s great vocal control and careful use of strings in the arrangements. This captures a moment when bossa nova was the best known musical export of Brazil, largely through the hugely popular work of Jobim and Astrud Gilberto, but neither Costa nor Velosos would ever sing and play so gently and lushly as this again…they both were to be major figures in the psychedelia-influenced Tropicalia movement that became a cultural and political force in Brazil only a year after this LP was released.

In May 1984 I appeared at a German festival called Pro
Musica Nova, organized by Radio Bremen. I then travelled to
Berlin by car with Rolf Langebertels, the owner of Galerie
Giannozzo who had driven to Bremen to hear me perform. I still
remember very vividly the experience of passing through the
checkpoint to enter West Berlin, a city that floated like an island
in the middle of the still socialist GDR. I had previously visited
Berlin in 1982 to perform at Kunstlerhaus Bethanien at an event
that Rolf had organized. This time too Rolf had organized a
concert for me at the Technische Universitat. Playing off the title
of the piece (“Study Time”) I had performed at Pro Musica
Nova, I titled the piece for this concert “Zeitstudie”.

I owe Rolf a great deal of gratitude, as it was him who
encouraged me by releasing my very first cassette tape,
“Zeitstudie von Akio Suzuki”. In recent years it has become
difficult for me to carry heavy instruments around with me, and
I have started to do simpler performances with objects
assembled on site. So it feels wonderful to have the sound of
the battery of instruments I used back then to be returned to the
light of day.

On “Zeitstudie von A.S.” I used an ANALAPOS, the echo
instrument I invented in 1970, and the Suzuki-type glass
harmonica that I created in 1975. The ANALAPOS resembles the
tin-can telephone that children used to play with: two metal
cans, open at one end and connected by a coil spring. You
play it by stretching out the spring horizonally and then
projecting your voice into the open end of one of the
cylinders. The second piece features a variation, where I
would suspend several ANALAPOS vertically and play them like
a percussion instrument.

The Suzuki-type glass harmonica is in a simpler form than the
pre-existing glass harmonica, and consists of five long glass
tubes of varying diameters suspended horizontally in a metal
frame. As well as rubbing the tubes with wet hands, I developed
my own style of playing it using sticks. Once when I was
practicing with it in the Netherlands, outside the window I was
surprised to hear a bird imitating my sounds. However, later I
discovered that the bird always sang that way, and as a token
of my regret for having ever doubted it, I borrowed the bird’s
Dutch name, De Koolmees, and I s till use it for my instrument.
Recently, as I listened back to the cassette of “Zeitstudie von
A.S.”, one of Hiromi Miyakita’s drawings was lying in front of me.
There was a sympathetic resonance between the sounds and the
drawing, so I decided to use it on the cover. This is a joyful music. 

Sound Limited, formed at the end of 1969, recorded three albums in quick succession in 1970, as if to reflect Takeshi Inomata's enthusiasm. The third of these was “New Rock In Europe. This album was composed mainly of songs by European musicians such as the Beatles, Donovan, and Nino Rota. The album features many highlights, such as “Something” with the shimmering guitar of Kosei Mizutani and “Barabajagal” with its tight and exciting groove, but it was a pleasure to hear “Mustache,” an original by Inomata, which is a part of the group's repertoire. This is the third recording following “Sounds Of Sound L.T.D.” and “Sensational Jazz Vol. 1/2,” and the version here is glossy and psychedelic, as if it concentrates the atmosphere of the entire album. It is a monumental work that shows that Inomata's jazz-rock has entered a new dimension. text by Yusuke Ogawa

The jazz scene in Japan around 1970 was at its most interesting. hard bop, jazz rock, and free jazz. New music and new values were born one after another, the scene was in chaos, and up-and-coming musicians were running through the scene at a speed that swept the meter. This live recording, “Sensational Jazz '70 Vol. 1/2,” is renowned as a live recording that captures the excitement and excitement of this period. The three jazz rock musketeers, Jiro Inagaki, Takeshi Inomata, and Akira Ishikawa, all stepped on stage, free jazz musicians such as Motoki Takagi and Itaru Oki finally took the stage, and musicians who support the mainstream, such as Toshiyuki Miyama and Terumasa Hino, stepped “beyond” the stage. stepped out to the “next level. The “Mustache” sound limited, which is said to be the most dangerous jazz-rock live sound source, is at the top of the list of hot performances like a cloud of smoke rising up. text by Yusuke Ogawa

Evening Air is the result Loren Connors and David Grubbs’s first trip to the recording studio in the two decades since their first duo album, Arborvitae (Häpna). Arborvitae stood out for its spellbinding, utterly unhurried meshing of electric guitar (Connors) and piano (Grubbs). With this long-awaited return, Connors and Grubbs take turns trading off on piano and guitar, with Grubbs at the keyboard for the two gently expansive pieces on the first side and Connors taking over the instrument for three gorgeous miniatures on the flip, including an album-closing and perfectly heart-stopping version of Connors’s and Suzanne Langille’s “Child.” The album’s wildcard is “It’s Snowing Onstage,” which finds the two locking horns with two electric guitars before Loren blew the minds of all present in the studio by unexpectedly switching to drums. Loren Connors is one-of-a-kind, one of a handful of deservedly storied musical greats gracing us with their presence, and with Evening Air David Grubbs again demonstrates that he’s a stellar musician who also ranks among the most simpatico of collaborators. A cover painting by Connors—another wordless signalling—sets the tone for this most beguiling of seances.

Dub-infused post-punk treats from astonishing percussionist Valentina Magaletti (Tomaga, Moin, Holy Tongue) and Zongamin as V/Z. The basslines throughout really hit that sweet spot and the collaborations are killer; Coby Sey and Venus Ex Machina join the fun, along with Vanishing Twin's Cathy Lucas on 'Habadash' with a most appealing Seefeel flavour. Highly recommended.

Emerging from a generative paradox of laser precision and fluid dynamism, Metallur fuses percussive, metallic force with warping tempos and a field of ethereal resonance and debris. The result is an insurgent, elemental, time-smearing of hyperspace, where "tellurian beats merge with alien glossolalia and vocal samples blip tesseracts of human affect into a ghostly, melodic aether". Music for a crushed infinity.

Banabila returns with a second LP release on Knekelhuis. The renowned Dutch producer is up there among the stars when it comes to ambient music and the so-called ‘fourth world’ legacy. On this eleven-track album, we witness soul-wrenching, kraut-tinted, and early-yet-modernist electronics. Coming from his heart, these imaginative recordings center around otherworldly voices – fictional characters chanting in a made-up language, imbued with a captivating spirit, transcending linguistic barriers. Through remarkable complexity and technique, 'Unspeakable Visions' is full of sonic textures, together evoking a layered, emotional arc. While the track 'Rattles' still references the artist's first album on Knekelhuis, 'Echo Transformations', the style of most other tracks departs towards an intriguing new mix of both pop-infused songs and gloomy abstraction, balancing between a sense of anticipation and desolation. (Luke Cohlen, May 2024)

Irish supergroup Princ€ss arrives to wherethetimegoes to release their self titled debut album.

YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku). Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Infectious pentatonic melodicism calling for multiple rewinds.

Matador is pleased to announce the reissue of a collection of classic albums and EPs from the weird, grotesque, and unparalleled first decade of Butthole Surfers, a legendary band of weirdos who mix hardcore, metal, psych, funk, and even hip-hop to create their own unique sound! The three vinyl releases are the most junk-heavy and malevolent of the three, the first "Psychic... Powerless... Another Man's Sac", the first one is the most junky and malevolent, the second one is "Rembrandt Pussyhorse", a scum sound that goes back and forth between punk/garage/funk covered in psychedelic noise, and the third one is a live show featuring the band's twin drummer system for the first time. EP, PCPPEP, all of which were remastered under the band's supervision. Butthole Surfers, formed in 1981 by Gibby Hines and Paul Leahy, who met in Texas, was an avant-garde band that emerged from the American '80s underground and gained a cult following for their insane live performances, and their legend has Their legend has always shone brightly. Now their scum career is being reevaluated and rediscovered!

crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT096), Making Conversation documents a different facet of cole’s work, presenting three rigorously conceptualised commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions. The side-long title piece is a stereo version of an 8-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia / San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she ‘observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place’. Drawing on field recordings as memory aids (but including none in the finished piece), cole’s piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. We hear insect-like twittering and birdsong fragments, resonant thuds and distant roars, furtive crunches and taps, muffled breath and metallic scrapes. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cagean drive to ‘imitate nature in her manner of operation’. ‘Valid ForeverrRrrRRrrr… (pt. 1)’ began as cole’s contribution to an Issue Project Room commission to realise a score from Alison Knowles and Annea Lockwood’s Women´s Work, a 1975 collection of text and conceptual scores by women artists and composers. cole’s piece begins from Beth Anderson’s Valid for Life, a complex arrangement of the letter R in various typefaces. Where the composer suggests a realisation on a trio of acoustic instruments (playing rolls with velvet beaters), cole translates the piece into her characteristic sound and object language as a trio of rolling sounds on ‘two large similar paper things and one 5-pin bowling ball’. Rolling from one side of the stereo field to the other, the bowling ball’s uneven movement is the heart of this immersive textural array, created with the simplest materials, which generates phantom sensations of pitch and phasing effects solely through amplified friction. On ‘Valid ForeverrRrrRRrrr… (pt. 2)’, cole makes a first foray in translating her signature approach into conventional instrumental sounds, here in the form of a transcription for MIDI percussion ensemble. The result is refreshingly puzzling, comparable perhaps only to the sparsest moments of Keiji Haino’s classic “C’est parfait…” Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole’s work, extending her signature concerns in new sonic and conceptual directions.

"Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College, going on to make important innovations in the field of live electronics interfaces and multi-media performance. Sonami is perhaps most closely associated with one of her inventions, the Lady’s Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady’s Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye. In Sonami’s own description, “The Spring Spyre is composed of three thin springs that are attached to reverb tank pickups, mounted on a metal ring. The audio generated when the springs are touched, rubbed or struck is analyzed in Max/MSP. The extracted features are then used to train machine learning models in Wekinator and Rapidmax and control the audio synthesis in real time. We never actually hear the springs.” After decades of aversion to documenting her work on recordings, a Song for two Mothers / Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. A Song for two Mothers (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye ("a bit tyrannical," Sonami calls it), the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction". After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops. Occam IX is a radically different proposition. At the outset of Sonami’s exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it—and her: like all of Radigue’s work since she ceased working with analogue electronics at the beginning of the 21st century, Occam IX is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Sonami’s is one of the few Occam pieces to make use of electronics, bringing it closer to Radigue’s famous longform pieces for ARP 2500. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise, reminiscent of one of the most beautiful sections of Kyema from the Trilogie de la Morte. Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, a Song for two Mothers / Occam IX is an essential document celebrating an under-recognised pioneer of electronic music and performance."

Originally released on September 30, 1991, Orbital's eponymous debut album became known as "The Green Album" to distinguish it from their second album (known as "The Brown Album") The Green Album includes the seminal 'Belfast' and a live version of 'Chime', the landmark dance track that launched their career in 1990