Bitter:Sweet’s trademark sound is an intoxicating blend of Shana Halligan’s melodically sweet-and-sexy vocals paired with the duos sassy genre-bending production work. In 2000, Kiran emerged on the scene as a founding member of The Supreme Beings of Leisure. Music, of course, has been at the forefront of Shana’s life since she was a child; her father, after all, is Dick Halligan of Blood, Sweat & Tears. Kiran and Shana are back with Drama, one of the most seductive interpretations of retro swank and hot beats since Sean Connery was James Bond! Since coming on the scene in 2006 with their debut album, Bitter:Sweet has received a plethora of buzz, including The Los Angeles Times, who claimed The Mating Game as “perhaps the best album of its kind since Portishead’s ‘Dummy’ was released more than a decade ago” and URB magazine who called the album “delicious.”

The band has received countless notable accolades, including being named the Best Rock/Pop Album of 2006 at the Independent Music Awards. They are consistently ranked on top 20 of iTunes Electronic albums chart and in Billboard’s Top 50 Electronic albums chart. Both People and Playboy Magazine urged millions of their readers to download hot tracks off of their album. And, in their hometown, The Los Angeles Times pegged Bitter:Sweet as one of the top 10 Buzz Bands of 2006.
Many of the hottest television shows and movies have used Bitter:Sweet’s music, including Samantha Who, Grey’s Anatomy, Nip/Tuck, Entourage, Desperate Housewives, The Devil Wears Prada, Men In Trees, Brothers & Sisters, and many, many more. Victoria’s Secret, Korbel Champagne and Bebe also tapped into Bitter:Sweet’s head-turning beats for their national advertising campaigns. It’s no mystery as to why their music is so sought after – one listen and you’re hooked!

ADDS 5/13

Early in the summer of 2007, Scarlett Johansson and her producer David Andrew Sitek entered Dockside Studios in Maurice, Louisiana with a band of multi-instrumentalists—old friends of Sitek’s with whom he had collaborated in the past and ultimately handpicked for Johansson’s project. There, in the Louisiana bayou, this new, impromptu band lived together for five weeks, experimenting in the studio, rehearsing songs, barbecuing, swimming, and, ultimately, making an 11-song album. Ten tracks are covers of songs written by Tom Waits (many of them in collaboration with his wife Kathleen Brennan). The remaining song is an original, written by Johansson and Sitek.
“I thought the quality of Scarlett’s voice in that lower register could sound good against almost any backdrop,” Sitek says. “And working with someone who works predominately in cinema, it seemed like we shouldn’t try to run away from that cinematic experience…Scarlett could become whatever character the song called for. I heard her lower register and was like, ‘This is exactly the right direction.’ I imagined a sound that was very Deborah Harry; very Liz Fraser from the Cocteau Twins, very This Mortal Coil—all those 4AD bands and projects that I love so much.”
Once in the studio the band experimented relentlessly under Sitek’s direction and encouragement, eventually exploring a variety of instruments and arrangements. Later, back in New York, additional musicians including David Bowie and TV On The Radio’s Tunde Adebimpe added additional vocals. In the end some songs were immediately recognizable covers of the Tom Waits originals, while others had become almost re-imaginings. Being mindful of Waits and his compositions was of utmost importance to Scarlett since the project began.
Johansson is still buzzing from the experience of trying something so radically new. She’s not, however, feeling timid about sharing the project with the public. “I never worry about that kind of thing,” she says with a shrug. “I’m just glad that I’ve had this life-changing experience, and that I met Dave and the other musicians that worked with us. I hope people enjoy it, but I’m already proud of the work we did.”

ADDS 5/13

With a slightly punky perspective on vintage American blues, The Devil Makes Three is a breath of fresh musical air on its eponymous Milan debut. Laced with elements of ragtime, country, folk and rockabilly, the critically praised, drummer-less trio – consisting of guitarist/frontman Pete Bernhard, stand-up bassist Lucia Turino and guitarist Cooper McBean – bring forth a genuine approach to acoustic music that is deeply steeped in rhythm. Pete, Lucia and Cooper create music that is pleasingly dissimilar to most other bands in modern music. Early critical praise of its self-produced recorded entry has earned comparisons to the likes of The Violent Femmes, Steve Earle, and The White Stripes.

Launched with the “The Plank,” an ode to meeting one’s maker, The DMT’s infectious amalgam of styles talks the talk and it walks the walk right out of the starting gate. From the outfit’s badass, backporch blues ode “Ten Feet Tall” – which is alive with three-part harmonies – to “Shades,” a wry look at barstool hugging daytime drunks, With the goal of being “an acoustic band but to play our shows like a rock show,” the band changed notions of what acoustic music could be. That festive spirit carries forth to the live favorite “Old Number Seven,” a blistering homage to Jack Daniels Whiskey. “The Bullet” balances a punky feel with a noticeable affinity for Bob Dylan, which is loosely based on the idea of Mississippi John Hurt’s “Stagger Lee”. Speaking of Hurt, his immeasurable influence over the band is fully realized on The Devil Makes Three via the trio’s forceful rendition of his American Blues staple “Nobody’s Dirty Business.”

Different but alluring and undeniable, as evidenced by the ferocious “Dynamite”, which is upheld by what Bernhard calls, “stream of conscience lyrics,” The Devil Makes Three intend to spread its fiendish blues across the fruited plain in support of its first proper album…and the word is spreading to a vast array of music fans, from Deadheads to punk rockers, to bluegrass barflies, and beyond!

ADDS 5/13

Comprised of master crate-digger Joel Martin and rising dance-music star Matt Edwards (aka Radio Slave), and borrowing their name from Martin Denny's exotica masterpiece, Quiet Village make the old sound new and the new sound old. The Quiet Village project first emerged over three hard to find, highly sought-after singles for the cult NYC underground disco subversives label Whatever We Want where their releases stood side by side with those of label mate disco DJ legend DJ Harvey. Those 12”s led to the duo appearing at clubs like NYC’s Deep Space, as well as receiving commissions for remixes from the likes of Gorillaz, François K, and Cosmo Vitelli — all the time building a larger and larger buzz for themselves in both the new Psychedelic Disco scene (alongside people like Lindstrom & Rub ‘n’ Tug) and the re-emerging downtempo scene. Now Quiet Village step out of the shadows to present their much anticipated debut album, Silent Movie.

With a sound that comes in part from Matt’s never- ending obsession with Vangelis and Klaus Schulze soundtracks and Joel’s overwhelmingly obsessive crate digging (that covers everything from Italian film soundtracks and library music to disco edits, acid rock and vintage soul), it’s no surprise that the duo aren’t afraid to mix the unlikeliest elements — bluesy guitar, chamber strings, air-raid sirens, shuffling breakbeats, even flutes and seagull cries — into an hour-long, beautiful reverie. Matt Edwards prefers to call the Quiet Village sound Balearic - citing that both him and Joel are massive collectors of that scene and have always been fans of it. To them the sound is “incredibly hard to define because Balearic music can be a Pop record, it can be a Rock record. Primarily I suppose it’s this midtempo, chugging , druggy sound that came about in the mid-80’s which fits in between very slow and club music. ”

Joel says, “Our only conscious aim is to try and approach the music from an alternative angle…I like to describe it as sophisticated adult exotica. Also we definitely incorporate the dub aesthetic into our sound too as it can really take you on a trip. So simple, yet so much going on in the subconscious background.”

ADDS 5/13

Brazilian music legend Sergio Mendes spins his remarkable magic on his newest recording, Encanto (Enchantment), which is among the maestro’s most beautifully realized in his unparalleled career. The collection refines Sergio’s singular blend of infectious rhythms and irresistible melodies from the great Brazilian Songbook, with his always thoroughly modern arrangements and masterful production approach. The resulting collection is a bona fide Sergio Mendes classic-- a kaleidoscopic album that underscores the maestro's ear for addictive melodies, as well as his ability to cast incredibly talented singers and musicians from all over the world.

With Encanto, his follow-up to the highly acclaimed Timeless, Sergio gives Encanto a global focus, bringing in international guest stars such as Latin superstar Juanes from Colombia, Brazilian Vanessa da Mata, Japanese pop group Dreams Come True, Belgium’s Zap Mama, and Italian rapper Jovanotti, as well as American stars like Fergie, Natalie Cole, and Herb Alpert and his wife, original Brasil ’66 singer, Lani Hall.

Serious Mendes aficionados will recognize Carlinhos Brown as the principal songwriter on Brasileiro, the seminal 1992 session that saw Mendes changing gears and exploring Bahian rhythms and sounds. "Funky Bahia," the song he co-wrote with will.i.am for this CD, is a cross between American mainstream and Brazilian sensibility. Sergio’s longtime band members, Mike Shapiro – his drummer for 20 years, brothers Meia Noite and Gibi, percussionists also from Bahia, are also part of this album. The album also includes a daring new version of Burt Bacharach's "The Look Of Love." Produced by will.i.am, this new interpretation maintains the beguiling melody of the original and adds crisp drum programming and sexy vocals by The Black Eyed Peas' Fergie.

"I’ve always dreamed of making an album with guest artists from different cultures, singing in their native language, as a way to illustrate the power and magic of Brazilian melodies," he emphasizes. Besides the glorious singing of Zap Mama (in French), the album also includes a rap by Italian super star Jovanotti, as well as a new song by Joao Donato and Joyce - “Y Vamos Ya," –sung in Spanish by Juanes, one of the brightest new stars in contemporary Latin pop.

ADDS 5/6

Every few years, a new artist comes along with talent and potential so great that it challenges and redefines the common perceptions of what modern music is and where it’s heading. The new light on the horizon may be a compelling vocalist one year, or perhaps an unmatched instrumental virtuoso a few years later, or maybe a brilliant composer a few more years down the road. Bassist/vocalist/composer Esperanza Spalding is all of these things and more. And she will, in fact, challenge and expand your perceptions of music.

Armed with uncanny instrumental chops, a siren voice that spans three languages, and composing and arranging skills that weave together the best elements of the old-school with the progressive, this 23-year-old has crafted a debut album that takes a completely fresh and refreshing approach to jazz by incorporating the rich traditions of soul, pop, world music and so much more.
Esperanza is joined in the studio by a crew of A-list session players, including flamenco guitar virtuoso Niño Josele, percussionist Jamey Haddad, drummer Horacio "El Negro" Hernández, saxophonist Donald Harrison and several other seasoned talents - all of whom collectively serve as further evidence of the kind of creative energy and magnetism that she radiates.

“She is an irresistible performer,” says The Seattle Times. “She sings and plays bass at the same time and does a sort of interpretive dance as she plays…Her analysis of what’s going on in jazz today is perceptive.” Irresistible. Interpretive. Perceptive. Esperanza truly inspires!

ADDS 5/6

Jack Splash is a time traveler. He was there when it all began, and he made the whole planet rock with Afrika Bam. He had Melle Mel’s back when he was by the edge, and he used to wear them big suits with Talking Heads. And as God is his witness, or his name ain’t Jack, he told AC/DC to come back in black. “Most of the stuff that I’ve always loved and have really been inspired by, even though musically and artistically it sounds way different, at the end of the day the energy behind it all is the same,” says Jack Splash, the auteur behind Plantlife. “We’re just an extension of that energy.” On Time Traveler, Plantlife mixes a little bit of hip-hop, funk, rock and R&B into something new, bold, and daring…future soul that defies categorization. “I wouldn’t call it a hip-hop project, but it’s the energy of hip-hop that gives birth to the energy of what I do,” says Jack Splash. “It’s no-holds-barred. There are no limits.”
When Plantlife first debuted in 2004 with The Return of Jack Splash, he seemed more myth than man. “In the original release, there were no pictures [of me]. I just wanted it to be about the music, and people would both get it and dig it or they wouldn’t,” he remembers. Yet despite being released on two small indie labels – Counterflow Recordings in the U.S. and Gut Records in the UK – The Return of Jack Splash made a serious impact, winning album of the year at Gilles Peterson’s BBC Radio 1 Awards.
Splash has produced songs for Raheem DeVaughn, John Legend, and Alicia Keys. In 2008, you can find his handiwork on highly anticipated albums from Estelle, Missy Elliot, Solange Knowles, Jamie Foxx, Jennifer Hudson and others. And look out for the Heart Attack, his much-publicized pairing with Cee-Lo of Goodie Mob/Gnarls Barkley fame. “I’ve stuck to my guns,” says Jack Splash. “When I’m working with these other people, I’m trying to have as much fun and be as creative and do the illest shit, like I do with Plantlife.”
With Time Traveler, Plantlife has officially ushered in a new era in genre-blurring music. It sways between breezy, sun-dappled anthems such as “Sun Shines through Your Love” and horny punk-funk such as “Take It Off.” Throughout Time Traveler, Jack Splash gives you everything he has.

ADDS 5/6

As musician, producer, DJ, music video director and CEO of the Expansion Team media production company and record label, Alex Moulton has squeezed several lifetimes of creative output into just the last ten years, and lately he shows no signs of easing off the gas. With the release of his sprawling solo debut Exodus, he conjures a retro-utopian vision of a happier time, when albums were real albums and music was presented not just as disembodied chunks of digital information, but as a full-on experience.

Exodus is much more than just a walk down memory lane. Although seasoned crate diggers will detect vintage ’70s influences as far-flung as Tangerine Dream, Giorgio Moroder, Vangelis, Jean Michel Jarre, and even Lipps Inc., Exodus moves beyond mere synth-pop prog-rock worship to embody a larger vision—one where the music becomes an all-enveloping narrative, inviting the listener into a gear-shifting, headphone-friendly mindtrip.

Moulton serves as both conductor and funky time traveler on a musical journey that’s by turns irreverent, groovacious and, at times, exuberantly cheesy. “I think electronic music often takes itself way too seriously,” he laments. “Everyone wants to be the coolest new DJ or whatever, but the electronic acts I love most aren’t afraid to let it all hang out…I wanted to make something like a Pink Floyd record, where you put it on and you listen to the whole thing all the way through and it takes you on this crazy journey.”

Throughout the album, Moulton taps into a litany of Moog, ARP 2600 and Yamaha CS80 synth patches for a lush layered sound. It’s a richness of analog synthesis that recalls the best work of Klaus Schulze, Kraftwerk, Can, or Neu!, but when tracks like the trunk-bumping “Out of Phase” or the whimsical trance rocker “Flaming Swords” bang into the mix, it’s clear that Moulton is equally enamored of the latest in minimalist techno and the psychedelic rock resurgence—and much more. (Even the tribal drums of “The Sacrifice”—a drums-only groove inspired by Afro-Colombian rhythms with an uncut, live-in-the-studio feel—would give cats like Timbaland a run for their bling.)

ADDS 5/6

Eleven years after becoming the first hip-hop act to put the Twin Cities on the map, Atmosphere has grown into one of the most accomplished MC/producer duos around. Between Slug and Ant, they’ve released six albums, 11 Sad Clown tour albums and various side-projects like Felt — amounting in well over a million units sold. Ant’s ASR-born melodic beats and Slug’s open book and observational style of rapping continues to evolve into hip-hop that’s more honest — more textured. And the praise for these Rhymesayers pioneers hasn’t stopped flowing in.
While Slug’s name has become synonymous with introspective rap, the new revelatory recording process with Ant inspired the MC to open up his subject matter well beyond his own life. When Life Gives You Lemons… is entirely based around fictional narratives that deal with societal issues – many, which revolve around the theme of parenthood.
The song that got this whole album started is “In Her Music Box” – the tale of a young girl who sits in the back seat of her wannabe pimp of a father’s car, absorbing the explicit raps she hears coming out of the speakers. The song is not so much about neglect as it is examining the dichotomy between a young, inexperienced father and his impressionable child. As Slug says, “The main point of it was to look at and speculate on how children at that age learn the art of escapism that as adults sets up for self-medicating and self-abuse.”
Another vital track on the album is “Shoulda Known,” which also touches on parenthood in the context of examining poor decision-making and how crucial it is to think beyond the present.
With songs like these, Slug proves that his best work isn’t necessarily the most revealing. And if you ask him, making an album with Ant completely comprised of fictional content sure helped get all of the real life characters from his former verbal journals off his back!

ADDS 4/28

Portishead's Third has been a long time coming, the result of a lengthy creative topor following 1997's dark, distinctly underrated album Portishead. Importantly, though, they've shaken it. While the core trio of Beth Gibbons, Geoff Barrow, and Adrian Utley remains, this is quite a different band to Portishead's 90s incarnation: gone is the slo-mo turntable scratching and smoky jazz feel, replaced by heavy, brooding rhythms, vintage-sounding electronics, and spindly guitar. Still present, though, is that sense of emotional fracture and deep gloom. "Silence" opens with a dense drum loop which suddenly falls away to reveal Gibbons' voice, cold but magnificent: "Wounded and afraid, inside my head/Falling through changes". "Nylon Smile", meanwhile, is a fine example of Third's occasional folksy edge, an acoustic song reminiscent of Leonard Cohen that, around its midpoint, lifts off on a propulsive electronic rhythm, Gibbons holding one clear, hard note as synthesisers bubble beneath. At times, it's a harsh and foreboding listen: the electronic drums of "Machine Gun" might put off the listener hoping for smooth dinner party fare. But Third is a brave and forward-thinking return, and one great enough to justify its lengthy gestation. --Louis Pattison

ADDS 4/28

Whether it’s on the Mexican horizon in Inca Steppa, Frank Sinatra’s space odyssey in a city born out of madness and violence called Las Vegas, the hordes of Babylon in City of the Sinful, releasing yourself in Mind of the Free, the apocalyptic Immaculate Crucifixion, that scheming jerk in Perfect Crime, a simple vision of a Pretty Girl, or just the mysterious panoramic view of a city called Tokyo, Juno Reactor’s new new release, Gods and Monsters, unleashes a counter culture of esoteric delights. You can hear it in the driving percussion of Gocoo (the all female percussion ensemble from Japan), the South African rhythms of Amampondo, Mabi’s magical chants, and the band just playing their hearts out. Juno Reactor has become a musical tour de force to be reckoned with.

In the early nineties, Ben Watkins set out to bring the world a culture clash of sonic textures that defies the word fusion. Although Juno Reactor has no band members and never will, Watkins set out to mold it’s destiny with various collaborators an intense ambient soundtrack emerged to accompany ‘The Missile Project.’ It could have been the inspiration from the obelisk in Stanley Kubrick’s 2001 A Space Odyssey or the famous plaster caster of the sixties, but Juno’s name evolved from a seventy-foot long concrete structure that Ben’s girlfriend dreamed up and named Juno Reactor. The music transcends the name bridging multiple cultures and ancient religions alike.

Not many bands can claim they can cross many musical boundaries with the ease that Juno Reactor has. Trance, techno, industrial, pop, rock, dance, and world - Juno Reactor has touched them all within his six pervious releases.

For his seventh album, Juno Reactor has surrounded himself with the best musicians to create an expansive vision that explores multiple worlds and cultures. Gods & Monsters offers up nine sonic adventures that are sure to expand and captivate the minds of even the most critical listener. From the pulsating opener, “Inca Steppa” to the melancholic “Pretty Girl,” Juno Reactor has succeeded in creating the most dynamic album of his career.

ADDS 4/28

Langhorne Slim is a name folks tend to remember. Same goes with his music – you hear it, and the impression it leaves makes you want to come back for another listen. Seeing him live is no different – he has the chops, showmanship, and wit to keep audiences completely engaged, and his backing band the War Eagles help push that electric energy even further. Reminiscent of old delta blues and vaudeville performers, he’s telling a story, and you want to be there for the ending.

Since 2004 Langhorne has been releasing albums and touring this country intensively. Performances at Bonnaroo and with artists like Josh Ritter, Murder by Death and The Avett Brothers have solidified his incredible live show, and, more importantly, built a fan base for him across the country. With one album and two EP’s under his belt, there is no better time for a new Langhorne Slim record… especially his most realized to date. The eponymous record is the exact one to help take a name that’s been bubbling under for a few years now and expose it to a much larger audience.

ADDS 4/21

To understand where the richness of Futurismo by Kassin + 2 comes from, take a walk through Rio’s Zona Sul. Futurismo is the new portrait of Rio’s rich musical, cultural and ethnic diversity and the final part in the + 2 trilogy — fellow band members Moreno Veloso and Domenico Lancellotti were the featured names for the first two releases. “When I make an album, I want it to be able to sit happily inside my record collection,” says Kassin, a Rio native who has been digging for vinyl gold all of his life. “Futurismo is like a collection inside a collection. It represents my tastes and my world.”

For the past few years, Kassin has been one of the most exciting names in Brazilian music. From his Monoaural Studio in Gavea he has produced records by singers like Marisa Monte and Bebel Gilberto and made an album from the bleeps of a Gameboy. He has played bass for Caetano Veloso’s live shows and masterminded the Orchestra Imperial project, in which samba classics are given a modern twist. And given his status as a leader of Brazil’s musical avant-garde, the biggest surprise of Futurismo is its bossa-rooted accessibility.

The songs on Futurismo are melodic gems. “Seu Lugar,” a duet with funky bossa nova legend Joao Donato, has the ease of a sea breeze. “Mensagem” is a beautiful slice of sunshine pop with unsuitably melancholic lyrics. “Ya Ya Ya” is a collision of Brazilian harmony and squealing space-age freakout reminiscent of the classics from the Tropicalia era. “Pra Lembrar” begins with an orchestral blast before settling into a plaintive bossa nova that is evocative of the beauty, humor, and sadness forever entwined at the heart of Rio life.

Alongside Music Typewriter by Moreno + 2 and Sincerely Hot by Domenico + 2, Futurismo presents a body of work by a group that is as inspired by adventure as it is by the grace of Brazil’s musical traditions. “We work like a normal band,” says Kassin. “The only difference is that for each person we try to work out what fits best. Domenico is a drummer so he’s raucous, he’s energetic, and the songs we wrote together for his album reflect that. Moreno has a thin, precise voice and he sings beautifully. I wanted to make this album as a guitar player and composer as I don’t feel like a singer yet. But hopefully with this album, I have found my voice.”

ADDS 4/21

Stanton Moore has proven many times over that he’ll try just about anything. As the co-founder of the “steamroller funk” band Galactic, a recurring member of the tongue-in-cheek avant-funk ensemble known as Garage a Trois, engineer of a rapidly accelerating solo career, and session player for artists as diverse as Irma Thomas, the Preservation Hall Jazz Band, Corrosion of Conformity and Street Sweeper (a forthcoming project with Tom Morello of Rage Against the Machine and Boots Riley of The Coup), this drum virtuoso from the bent-but-unbroken music mecca known as New Orleans maintains a rhythmic arsenal that embraces jazz, funk, R&B, pop, hard rock and so much more.

When Moore joined the Telarc roster with the September 2006 release of III – his third solo recording – he brought with him some high-caliber session players, including keyboardist Robert Walter and guitarist Will Bernard. At the time, Moore and company were a loosely knit collective – each writing his own songs, each getting a feel for the others’ musical sensibilities. But in the year-and-a-half since III, after settling into a comfortable groove amid scores of live gigs and exploratory forays, Moore, Walter and Bernard have become something more than just a random mix of musicians.
Emphasis (on parenthesis), the followup to III, features this same threesome in a much different creative place. It’s clear from the eleven tracks that the trio has achieved a level of cohesion and confidence that no longer requires assistance from any other session guests. The album is full of songs that stick. The set opens with the highly expressive “(late night at the) Maple Leaf,” a tune loosely based on an instrumental improvisation that emerged during a gig that Moore and Walter played with bassist George Porter at the famed New Orleans club. Tracks like “(proper) Gander” and “(who ate the) Layer Cake?” are more riff-based and driving. This sense of experimentation and exploration has always been the cornerstone of Moore’s music, no matter who he’s playing with or in what context. But Emphasis (on parenthesis) never loses its connection to its basic three-man core.

“With this record, I went into the process with a lot more experience, and also with a lot more confidence,” he says. “By just having these three guys in the studio, we could really do whatever we wanted. We could play things with loops in it, we could play things that were in 5/4, we could improvise, whatever. But the thread that holds the entire album together is the fact that it’s the same three guys on every track…It’s just a matter of what’s coming out of us at that point in time. It’s a very natural, organic process.”

ADDS 4/21

Chin Chin started as the house band for a popular monthly party in NYC. This might explain why every show the band plays becomes one giant celebration of amped up grooves and plush bass lines. The 13 tracks of spry, fuzzed-out jams on their new album capture that feeling of unbridled revelry. As a live unit, Chin Chin can range from the standard quintet to a thunderous ten-piece ensemble. In New York as well as Europe they have shared the stage with TV On The Radio, Gogol Bordello, Sufjan Stevens, Lily Allen, Sharon Jones and The Dap Kings, DJ Spinna, Doctor Dog, the Rogers Sisters, the Bravery,and VHS or Beta. Torbitt Schwartz (drums, vocals), Jeremy Wilms (guitar, vocals), and Wilder Zoby (vocals,keyboard) are the core trio of musicians that make up Chin Chin. Stirring together funk, jazz and elements of such dance-floor heroes as Brass Construction, Ohio Players, and Roger Troutman, the band has created an alchemical brew.

Their sound both recalls the 70s and surpasses the era in a synthesis of retro and contemporary. Friends and fellow former session musicians add vigorous accents throughout the album. Unleashing their music for the first time in the US on disc, Chin Chin found a home on Definitive Jux. Joining contemporaries such as Justice and Out Hud, Chin Chin uses world music rhythms, disco-bass and R&B styling to make tuneful, danceable modern funk.

ADDS 4/21

Free News Projects is proud to announce the release of Zeppelin 3, the first full-length album from Philadelphia's electro-psych outfit Pink Skull and the follow-up to the group's 2006 debut EP Blast Yr Akk.

Pink Skull's mastermind Julian Grefe is the wild-eyed, psychedelic stalwart of Philadelphia's indie dance music scene. An accomplished musician, producer, and DJ with a slew of bands, records, and music projects to his credit, Grefe was a turntable resident of the long-running Making Time and [click.] parties and has performed and DJ'ed for cool kids around the globe.
In 2004, Grefe teamed up with 611 Records alum and co-conspirator, Justin Geller. Their collaboration and mutual love of early avant-techno spawned Pink Skull. Grefe and Geller were then tapped to curate the inaugural mix for renegade dance purveyor RVNG INTL's series of DJ compilations Rvng Prsnts. The DJ/producer duo have remixed left-of-center dance tracks for Spank Rock, Plastic Little, Architecture in Helsinki, Health, Lovely Chords, and Martin Matiske. In 2006 Grefe and Geller expanded Pink Skull into a live band, with the addition of players Jeremy Gewertz (drums), Mike Hammel (bass) and Sam Murphy (guitar).

On Zeppelin 3, Pink Skull updates the four-on-the-floor sound with quirky tech house, varietal acid, and Faustian instrumentation just trashy enough to keep it freaky, melding dance-floor readiness with krautrock psychedelia. The album features guests Mirah, Spankrock, Daneil Mazone, Billy Dufala of Man Man, and Boy's Life-r Jon Anderson now of White Whale.

Grefe describes Zeppelin 3 as “a tribute to the birth of the electronic music dance subculture in the early nineties... when JG was selling acid and e and we lived in weird rave caves and still went to punk shows... the first time we heard "Don't Laugh" and the first time we heard Silver Apples blah blah blah. A time when electronic music was new and limitless and a house record didn't have to be between 126 and 130."

ADDS 4/21

Saracen is the first full-length solo album from Jef Stott, though Stott has been on the global music scene for over a decade, helping to found the bands Stellamara and Lumin and producing records by the Tunisian-born MC RAI and the Persian fusion group Somma, among others.

Stott began as an experimental guitarist in LA, but his work with Stellamara, a group that blended Balkan and Middle Eastern music with Dead Can Dance-style rock, inspired him to take up a serious study of the Arab lute, or oud. Moving to San Francisco in the mid-90s, Stott sold his guitar and spent several years studying with internationally known masters like the late Hamza El Din, and the Turkish virtuoso Omar Faruk Tekbilek. "Eventually," he recalls, "the electronics started creeping back in, and I became a bit more of who I was before. But I was still listening to a lot of Arab and Middle Eastern music all the time." The result was Stott's now-signature mix of electronica and Middle Eastern music; he became a sought after producer and remixer, and eventually founded his own label, Embarka Records.

"I'd been producing bands for over 10 years," Stott explains, "and I just really wanted to do something on my own.” Of course, "solo" doesn't mean "unaided" – one of the most striking features of Saracen is the appearance of some swirling vocals, in Arabic and Persian, by MC RAI, Reda Darwish, and Hooman Fazly. But Stott himself plays most of the instruments: the oud, of course, but also the Turkish lutes known as saz and cumbus, the Persian santur (a hammered dulcimer), the electric bass, and lots of hand percussion.

Truly global music is at the heart of the track "Sono": the funky groove is comprised of a whomping synth bass, near Eastern dumbek (a clay drum), and drum programming. But there are some telling moments of Latin timbale effects, and the melody spins out on both the oud and Turkish clarinet. Samples of the piercing, nasal reed instruments of North Africa and the Near East add a distinctive touch throughout the record. On the title track, the Persian vocals and the ney flute soar over dubbed out electronic programming. Percussion programming is heavy on the dumbek at first, then becomes increasingly electronic until the oud enters, playing the melody, and once again throwing into question what tradition this music comes from. "Faqir," for example, is based on an ancient Egyptian rhythm called zaar, which is meant to ward off evil. A wash of electronic sounds and a mix of implacable drums and skirling reeds brings to mind Led Zeppelin's "Kashmir," or one of Peter Gabriel's albums from the 1980s. Saracen is exotic, technical, and diverse all at once…a groove not to be missed!

ADDS 4/21

REAL HIP HOP, from the Great North! When you find something fresh in a market suffering from a lack of creativity and originality, it injects inspiration and hope into an otherwise disappointing situation. Josh Boots is that breath of fresh air that you’ve been looking for-- music that pleases the ear and feeds the soul at the same time. The record is filled with unadulterated, lyrical portrayals of life in its entirety, with special attention paid to trials and tribulations of urban life in as a hip hopper…all coming from ALASKA!

Josh grew up in Anchorage and started rapping in 1998. In 2000 he partnered up with another local artist, Jerremy “AKREAM” Santacrose. Together they built an independent label, Arctic Flow Records, and turned it into a powerhouse on the Alaskan music scene. They released their first project in 2002, Akreams’ Way Too Cold. The album sold over six thousand copies and established Arctic Flow as a legitimate label.

Over the next three years, Josh Boots appeared on several albums and mix tapes locally and perfected his craft through a constant schedule of live shows. He has opened for many artists such as Nelly, Mya, Grouch & Luckyiam, Outkast, Sage Francis, Eydea & Abilities, Petty Pablo, Project Pat, and more. Josh has preformed regularly through out Alaska developing a high quality, energetic stage show that is sure to please.

In 2006, Boots finished his sophomore album Possession With Intent. He spent the next year securing finances and developing a quality business plan for Arctic Flow. Check for him touring extensively throughout the year with DJ Astronomar, Akream, Phonetic, & Soiled Seed in support of the project and is currently putting the finishing touches on his mix tape ‘Off The Record,’ as well as a yet-untitled album with fellow Arctic Flow artist Phonetic. As Josh Boots continues to create classic material and push the bar musically, the world will be glad to know that there are still real artists out there who they can count on!

ADDS 4/21

“I have periods when I’m hungry for something new. I'm quite hungry right now. And then I have periods when I'm more domestic. I kind of make fun of my hunger on the new album in a track called ‘Wanderlust.’ It's about the state of looking for something and almost knowing you’re never going to find it. “
– Björk, Interview Magazine

You may have seen her epic new video circulating around the internet or on television. The concept of the 3-D video is an attempt at creating mytho-poetic cosmology of a primitive world… complete with water deities and the struggle towards the future. Only Björk, that Icelandic songstress of the strange, could star in a music video featuring a yak, a river appearing to be made of hair, and a character called Painbody Backpack — all of which require 3-D glasses for viewing. For the past nine months, the Bay Area-based creative team Encylopedia Pictura has worked with Björk to create a stereoscopic 3-D music video for "Wanderlust," the fourth track on her Grammy-nominated album, "Volta."

At last, the song behind Björk’s new transcendent music video has arrived. Check out the exclusive single and slip into the gorgeous world of ‘Wanderlust!’

ADDS 4/21 - Available only on Spectre Digtial

Four Tet returns with four tracks of techno (not techno). The Ringer mini album is a 32-minute, four-track excursion into the kind of wide-open spaces you might find if you set out to make techno with an afrobeat/krautrock sensibility.
Ringer locks together gloriously rich synthesizer arpeggios; 'Wing Body Wing' slips from crisp clusters of disco percussion to Steve Reich polyrhythms; and in between are another two euphoric ripples of sound, 'Ribbons' and 'Swimmer'. These are tracks that make you think of Berlin - Dakar - Detroit - but they could only have been made in London. All four are headphone epics, but are mixed in such a way you know you have to hear them at Plastic People or The End. The techno heartbeat comes from Kieran Hebden's regular DJ residences over the last couple of years - but also from his ongoing collaborations with legendary jazz drummer Steve Reid. Whether in the studio or live, Kieran and Steve often click into the kind of deep 4/4 grooves that can depart in any direction with a little adjustment.
Spawned from the urge to do something apart from his post-rock band Fridge, Kieran Hebden's Four Tet project balances organic and programmed sounds. Hebden formed Fridge with Sam Jeffers and Adam Ilhan while still in high school. When Fridge went on temporary hiatus for Jeffers and Ilhan to attend college, Hebden spent time playing with ideas gained from hip-hop and electronica that he hadn't had time for while concentrating on the band. Eager to experiment, Hebden bought a computer and began collecting drum and sound samples. Though his tracks sounded contrary, Hebden produced them all in his flat using only his computer to loop, slice, and paste downloaded samples and rhythms.
Hebden is just one of those artists whose receptive audience is without classification. And that extends into the world of musical colleagues. Four Tet has commandeered fans and collaborators as wide reaching as experimental rock bands (Radiohead), massive pop acts (Coldplay), underground hip hop producers (the late J Dilla), post-punk influenced upstarts (Bloc Party), electronic mavericks (Aphex Twin), folk chanteuses (Beth Orton & Juana Molina) and jazz legends (with Kieran's ongoing collaboration with drummer Steve Reid).

ADDS 4/14

Producer/DJ/multi-instrumentalist Dennis White (AKA Static Revenger) unveils his latest project Love Song Surprise. Co-produced by Supreme Beings of Leisure’s Ramin Sakurai and co-written by 2007 BBC world music award nominee Duke Mushroom (Bole 2 Harlem), Love Song Surprise is an electronic based record filled with skilful song writing/production and pure emotion.

"Most people who know my work, only know my Dance Music, so when they hear this, they're like- 'wow- this actually doesn't suck... how the hell are you singing love songs?!' ...When you've fucked up as much as I have at love, you either become an alcoholic, or a great song writer.. so for years I've been writing songs with the voice of authority for every man who's screwed up a good thing. I seem to have perfected it," White laughs.

Static Revenger has been one of the most prolific names in dance music for the better part of 10 years. With artist credits on over 1.5 million records sold worldwide, this multi-instrumentalist trapped in a DJ's body is responsible for chart-topping masterpieces for everyone from Madonna to the Weekend Players, and has shared the decks with Fatboy Slim, The Basement Jaxx, Chemical Bros, Oakenfold, Erick Morillo, and the Crystal Method. From an early start in dance music as the music director for Inner City's (good life/ big fun) first world tour, to recent Film and TV credits, Static Revenger's music holds history in one hand, and the future in the other.

ADDS 4/14

“ABC,” as the Jackson Five once put it, “it’s easy as 1-2-3”: Dizzee Rascal’s third album, Maths + English, is the most complete, intense and thrilling British hip-hop record ever made. From the Korn-inspired metal guitars of the barnstorming first single “Sirens,” to the vivacious Bugsy Malone-inspired backchat of Lily Allen (on the irresistible “Wannabe”), every track on this album seems to find a new way of grabbing the listener’s attention. But the amazing thing about Maths + English is the way the huge number of different styles and ideas that it showcases come together as the perfect vehicle for one man’s voice. Whether Dizzee is going mano a mano with American gangsta rap legends Bun B and Pimp C (“Where’s Da G’s”), or paying his dues to his UK heritage by collaborating with drum and bass legend Shy FX; whether he’s sampling Lyn Collins on the straightest hip-hop track he’s ever done (“Pussy’ole”) or going way out there to a Martial Arts film soundtrack of knives being sharpened (“World Outside”), it never takes more than half a bar of his guttural, urgent rhyming to realize you’re in the presence of the Rasket.

Maths + English is Dizzee’s most upfront and accessible record to date – “Sirens” is a UK half-brother to Jay Z’s “99 Problems” and full on party tracks like “Flex” and “Bubbles” will soon be turning up the heat on dancefloors the more melancholic Mercury Prize-winning debut Boy In Da Corner might have cleared. It’s brutally honest and potentially confrontational.

“The direction changed a lot with this album,” Dizzee admits. “It started out with reflective tunes about how sad shit is and what a fucked up world we live in…But then I started listening to a lot of different music - old Outkast stuff ,Young Jeezy, Dem Franchise Boyz, D4L’s “Laffy-Taffy”– and it got me back into the mold of that jump up party shit. I wanted to make banging tunes.” While American influences were vital to the creative evolution of Maths + English, the album never compromises its distinctively British identity.

“[Maths + English] sums up my philosophy of grafting,” Dizzee explains. “Numbers, words: that’s what I do. The writing side is the English. The notes, the beats, the deals, the money – that’s the Maths. But it’s about going to school too, and how everything I’ve learnt since then has made me look back and reflect on that.” It’s not just Maths + English then, but science and history and art as well: a complete education in itself.

ADDS 4/14

Imagine the sound of diamond-studded subway tunnels where mirror balls reflect the light of bonfire flames dancing to the sonic pulses of twenty-inch subwoofer stacks….and you’re on to the spirit of Standing on the Shoulders of Giants.
From the ashes of Razed High, the multi-instrumentalist, vinyl scoundrel and gadget scavenger-hermit, Hai-Ding, broke the confines of the West Coast and morphed into a formidable musical force now secretly migrating between L.A., San Francisco and Tokyo (allegedly on a diamond crusted private jet). Under the moniker Metaform, his anonymity, coupled with a divine knack for gleening the essence of countless genres has both positioned him as an act to be reckoned with, as well as enhanced the mystery of his identity.
Metaform paints a portrait of the seedy underbelly of east and west by blending live instrumentation and structured samplings to hone his skills. Sequestering himself in the Boom Box (his modest home studio with an array of toys), Metaform redefines “street” and takes genre-bending to dizzying heights. Pick your poison. “Standing on the Shoulders of Giants” pays homage to ear candy soul classics and folds in healthy doses of just the fix you need.
Garnering praise from XLR8R, URB and DJ Magazine, Metaform delivers. This new release is a cocktail with flavors of RJD2, Iggy Pop, Underworld, Thomas Fehlmann, and DJ Shadow. Those with ears like fine tooth combs, like me, may also dream of where Metaform could be heading and thus drool at the prospect of future releases blending Anticon-esque fractured hip-hop beats with the experimentalism of Animal Collective and the beauty of Home Video, Mum or some other smokey-lounge act.
However you size it up, Standing on the Shoulders of Giants will be the release to put Metaform on the map.

ADDS 4/14

Environmental responsibility never sounded so good; The Green Owl Comp: A Benefit for the Energy Action Coalition is a 2 CD, and DVD package featuring such artists as
Feist, Young Love, Muse, Of Montreal, Juliana Hatfield, Satori, The Exit, Pete Yorn, The Bad Plus, Bloc Party, The Appletrees, Harper Simon, Deerhoof, A Place to Bury Strangers, State Radio, Earl Greyhound…and many, many more!

The CDs feature unreleased tracks and rarities from each respective artist, while the DVD contains exclusive videos by some artists as well as an interview with the co-founder of the Energy Action Coalition, Billy Parish.

Green Owl Records will donate 100% of the compilation’s profits to the Energy Action Coalition, which consists of more than 40 organizations from across the US and Canada, founded and led by youth to help support and strengthen the student and youth clean energy movement in North America.

From a Manchester bedroom to your stereo via outer space – Jim’s eponymous second album is one of the most expansive pop records you’ll hear this year. His 2005 debut Tower Of Love was largely a collection of his EPs to date,
this new album is conceived as a single piece. Jim’s music has always been a melee of different styles and influences, and this album sees him delving more into his electronic side and going further with melody and vocals than he’s ever gone before – there’s even some lead falsetto. “A lot has changed since I recorded Tower Of Love,” says Jim. “I even used a slightly different haircut on this album too which I’m sure you will agree, has affected the sound in many ways.” Tower Of Love launched Noir in Europe and the US, where he’s toured extensively with various band line-ups and under different guises. Recently, he toured the UK with kindred spirits Super Furry Animals, and joined them
onstage every night. Gruff Rhys even played roadie for Jim when his guitar strings broke one night. “I did try many times on tour to join the band on a permanent basis but they kept batting me away with rolled up copies of their
itinerary,” he jokes.

ADDS 4/7

Like their bizarre name Snake & Jet’s Amazing Bullit Band is an incredible blend of The Zombies, The Doors, King Missile and Booker T. and the MG’s. Heavy on the organ and guitars, Snake & Jet is a throwback to 60’s style rock and roll. The group sounds like they haven’t been listening to pop music for the past thirty years and are making up their own rules of what pop music should sound like on their album X-Ray Spirit. It’s freakishly effective and reminds the listener that rock music is not Nickelback and Daughtry.

The opener “Ten Cities Beyond” starts things off to a high powered organ and drum riff. It’s serious fun with a mix of cowbell, guitar, organ and god knows what else. It sets expectations for the rest of the CD, which do not disappoint. “Favourite” sounds a lot like a King Missile song. Snake & Jet’s aren’t so much about clever lyrics as instantly accessible songs. “Favourite’s” lyrics are basically the same things over and over again but the song is well put together, you hardly notice. Each song on X-Ray Spirit weaves a hypnotic blend of strong guitar work with trippy organs. “Catwalk” shows this off to stunning effect. Things shift to a very blues mode mixed with funk in “Wicky”. It’s a two minute instrumental jam piece that isn’t insufferably long.

This maybe the first CD where I can’t any tracks I didn’t enjoy. X-Ray Spirit is one of the best rock albums of the past ten years. I haven’t hear as strong a debut album since Nirvana changed the face of music in the early 90’s. I’m not saying that Snake & Jet will have a much of a cultural impact but in today’s pseudo rock landscape, it’s great to hear a band that knows how to bring it on every track.

Snake & Jet’s Amazing Bullit Band will make you wonder why you even listen to other bands. If every band was half as talented as this group, rock music would once again flourish. As it stands, most bands want to be the next generic mainstream pop rock band that are easily disposed of. Snake & Jet’s Amazing Bullit Band are throwing down the gauntlet by showing that you can create amazing rock music that will get people on their feet and jamming out once again. – Pop Syndicate

ADDS 4/7

Imagine a movie montage culled from the frames of Federico Fellini’s La Strada and Roger Vadim’s kitschy 1968 sci-fi fantasy Barbarella set to the lush musings of a smoky-voiced Brazilian siren cooing in Portuguese. Now picture the scene unraveling at Coney Island’s Astroland staring an actress on a Freudian carousel ride of her innermost salacious acts.
It may sound contrived, but for São Paulo, Brazil, trio 3 Na Massa (3 In the Dough), the idea to penetrate the female libido through music stemmed from such visual mash-ups. One part Rica Amabis, the producer behind São Paulo hip-hop collective Instituto, and two parts Pupillo and Dengue, members of the seminal Recife rock outfit Naçao Zumbi, 3 Na Massa began sampling sonic driftscapes on a computer in their shared quarters before finally making it seamless in the studio.
“It became natural,” Amabis says of the creative process. “We didn’t have to talk much. We actually knew what each of us was going to do.”
The result is a record fashioned as a kind of confessional soundtrack to the erotic comic book frames of Italian artist Milo Manara. Piled with layers of references that range from Brazilian filmmaker Hugo Khouri to the voluptuous sonic contours of Serge Gainsbourg, the record shows the threesome’s close attention to detail. Even the intimate dialogues of amorous encounters were penned by various songwriters, among them Rodrigo Amarante, Recife composer Juno Barreto and Mamelo Sound System singer Rodrigo Brandao. 3 Na Massa then enlisted female singers and actresses, including friend and newcomer chanteuse CéU, Orquestra Imperial’s Thalma de Freitas, Brazilian soap opera star Karine Carvalho and City of God’s Alice Braga, to create vocal personas for each of the album’s storylines. The result is both sensual and irresistible!

ADDS 4/7

Always on a musical mission, BRAILLE has become one of rap’s best-kept secrets. He has released three solo albums; performed throughout the U.S, Europe and Japan with artists like the late James Brown, De La Soul and others; been named one of the “Next 100” by URB magazine; and collaborated with rap heavyweights such as 9th Wonder and Pigeon John.

The album’s first single and title song serves as an ode to Braille’s rap roots. Produced by Marco Polo and featuring scratches from Rob Swift, the energetic drum-driven tune is a lyrical showcase that caters to rap’s tremendous subterranean following. “The underground hip-hop base is a lot bigger than people think it is,” Braille reveals. “Sometimes when people think of the word ‘underground,’ they think of basement albums that just get dubbed on tape. So I’m sticking to my roots. I believe that the audience for lyricism and good hip-hop is much larger than most people assume. I wanted to start with the hip-hop base and take it from there.”

Elsewhere, Braille acknowledges his personal and artistic history on “Remember Your Path” and channels the energy of music icon James Brown on “Main Squeeze,” with whom Braille toured as an opening act during 2005 and 2006. Then on “Calculated Risk” Braille gets personal by examining his decision to pursue and create lyric and beat-drive rap music with spiritual overtones.

In addition to being his fourth album, the title represents three other things. Braille wants the album to serve as an IV to distribute musical medicine for social illnesses directly into the veins of the society. IV also stands for “International Vision” (becoming more aware of what's going on in the world around us) and “International Version” (the album is made for an international audience and features German, French, Finish and Australian producers like M-Phazes, Aetoms, Staffro, etc).

ADDS 4/7

Pacifika. The name is at once familiar and mysterious, implying endless seascapes and tropical beaches, golden sunsets and endless summers, warm tides and mighty tsunamis. "Words are powerful," says the band's lead singer and chief lyricist Silvana Kane. "We wanted a word that described the music and our feelings. Pacifika sounds warm and eternal, like the ocean itself, open to limitless possibilities.
Pacifika is the multi-talented Silvana Kane, a Peruvian born singer, re-formed pop sensation (West End Girls), and accomplished actress with a love of flamenco, electronica, and textured percussion; Adam Popowitz, a Canadian-bred guitarist adept at new wave, classical, and pop, and a skilled producer responsible for a catalogue that includes indie rock and Armenian folk music; and Toby Peter, a dub wise bassist born in Canada and raised in Barbados, explorer of jazz, hip-hop, Latin, metal and Caribbean grooves. Together the Vancouver-based trio is making a new kind of global pop, music that nods to its diverse international influences, while forging its own unique voice. Jazz infused and Latin tinged, marked by gently flowing melodies, deep grooves, waves of cracking percussion and the occasional burst of exhilarating guitar noise, Pacifika's comfortable, complex sound defies categories.
"We look at Asunción as a body of work, an album that takes you on a journey," Kane explains. "The songs flow and tell you a story, starting with 'Sol,' the rising sun, and ending with 'Las Olas,' the waves, lifting you up and floating away with you. Asunción is the journey we all take back into the light."
One of the album's most dramatic tracks, "Mas y Mas (More and More)," tells the story of a butterfly flying across the ocean to an inevitable end. The song is a duet between Kane's voice, representing the butterfly, and Popowitz's electric guitar, conjuring up a storm with a flurry of Hendrix-influenced waves of feedback. Other standouts include "Chiquita," a gentle samba that dances with a Cuban rhythm tapped out on the clave, "Oyeme (Hear Me)," a rock in Español tune that rides a fractured Latin rhythm laid down by electronic and acoustic percussion and "Libertad (Freedom)" a melancholy, late night ballad. Sparse guitar, subtle background rhythms and Kane's double tracked harmonies move the tune into a huge, echoing sonic landscape. With such a wide palette of musical tastes Pacifika is poised to be Canada's freshest musical export.

ADDS 4/7

Meat Beat Manifesto has been hailed as one of the frontrunners in the electronic music scene since 1987. Front man Jack Dangers has made sure over the years to keep from being categorized into a specific genre by continuously expanding his musical influences and overall direction of Meat Beat Manifesto. His first album, Storm The Studio, was immediately considered an industrial classic. Although the praise for this album was extensive, Jack Dangers took the next album, 99%, in a more techno-influenced direction than before to expand the band’s horizons. While 99% still stayed true to Meat Beat’s industrial roots, it was filled with more rebellious energy than most industrial music at the time including the various hip-hop influenced tracks.

This incredible mixture of industrial, techno, and hip-hop set the stage for incredible opportunities to expand this concept even further into Meat Beat’s live shows. Concerts quickly became a visual as well as aural attack with extensive setups for every show. The live performances featured dancers choreographed by Marcus Adams, video clips that accompanied the live instruments, live DJs, and dozens of sequenced electronic instruments. These audio-visual experiences quickly became an integral part of Meat Beat’s overall character and were yet another influential trait that Meat Beat had to offer the electronic music world.

Meat Beat Manifesto has joined forces with Metropolis Records to release his newest album Autoimmune, which promises to be one of his strongest albums yet. Filled with infectious grooves and overlapping samples from almost every genre possible, it encapsulates what can be accomplished with electronic music. Autoimmune guarantees to satisfy any electronic music lover. A digital-only single for Guns N Lovers will also be released prior to the album.

ADDS 4/7