The Results Are In

It's that time again - here's my BC Friday roundup for March. A slightly weird one this time (but they all are to an extent), no massive diversions like the past though. Slightly disheartened by the announcement they did re: the merger with Epic Games because I think they are a bit of a shitty corporation first and foremost, but also because I worry about corporate intrusion into what was one of the best independent music platforms out there, historically things have a nasty habit of turning sour when acquisition happens. But I'm not going to let that overshadow the post too much, I thought it deserved a mention though. Let's take a look inside my digital bag then shall we?

Hasui Kawase - Tsuchizaki, Akita (1928)

I actually remembered to check my email the day of the Friday this time around, though there weren't as many new release notifications as there have been in previous months, it still highlighted some interesting stuff. Enter LNS - I picked up her entire discography a couple months back and I've been keeping an eye out ever since for more. She dropped a solitary single in Misiats, the title track from the EP of the same name that should be coming out later this year on Counter 99 - though according to LNS herself it was recorded a couple of years ago. If you caught any LNS on my previous posts you sort of know what to expect going into this one, a culmination of her influences - the bandcamp page is tagged with Techno, IDM, Electro and Ambient, each of which you can hear show it's influence throughout parts of this single. It's based around a Ukrainian folk song "Oy, ty misyatsyu / Ой, ти місяцю", I recommend checking out the Bandcamp page as LNS goes into more detail and shares more of her personal experience. All proceeds for this release go to the World Central Kitchen charity.



Other than that, I picked up a ton of Italo Disco records, I've been following the Goody Music bandcamp for a while now - it's a publishing label that's doing great work in not only re-releasing a ton of vintage Italo records but also remastering them too. My favourites have been the ones under the Mr. Disc sublabel - home to stone cold classics such as Charlie's Spacer Woman. It's a real treasure trove of grooves, if you're looking to begin exploring the world yourself, Mr. Disc have helpfully put togetehr a couple of compilations of Obscure Tracks to help you along. They're a great starting point in all honesty, it took me a long time to really branch out into Italo just becuase there is so much of it (and some of it is of questionable quality to boot). Look no further than track 1 of this compilation to set you on the path, a slightly later addition than any previous Italo I've covered, Notte Divina was originally released in 1990, but it's still full of my favourite elements of Italo. Catchy melodies and Piano stabs aplenty in this one, this is an instrumental version of the track which really brings all of that to the forefront too.



I mentioned they do a lot of re-issuing and remastering as well, a lot of times on re-releases they'll also include some more modern mixes in addition to the originals. These mixes are usually pretty good in their own right, they don't re-tool the formula of the original too much or needlessly try to shoehorn it into another genre. A lot of the time it's pretty much the original track with a fresh coat of paint and some subtle switch ups to keep the variety going. Such is the case on the Heritage mix of Dharma's Plastic Doll - given a slightly more House-y feel and extended out a minute longer than the original. It's a nice take on it, I feel like it'd be very easy to go too 'Nu-disco' with these mixes, but each one I've heard so far has been fairly faithful. It's a great thing they're doing with the labels to make these old records more readily available again, the market for some of them on vinyl has been ridiculously inflated so it's nice to be able to get hold of them legitimately in some form, even if it is only digital.



And finally, as promised on my last post - I did in fact get some Rei Harakami and Susumu Yokota. For Harakami I actually went backwards from the one I posted - I've had a partial copy of Opa*q for years that I can't even remember how I picked up but suffice to say it wasn't the best quality, so I figured it was high time to put that right. While my favourite is still [Lust], Opa*q is still a great place to start when it comes to Harakami's work - it's his second album so the sounds are already beginning to get more refined and you can in fact hear bits of what would become his later works on here too. There's plenty of good tracks to choose from, but to perfectly summarise his style, you can do no better than 300ml (Milk).

Dig out your headphones for the intro, it kicks off with a left-right pan of what would become that trademark electronic piano sound - and from there it only goes from strength to strength. A quality piece of that late 90's - early 00's 'downtempo' kind of sound, though a little bit more techy sounding than most examples I've posted of that in the past. Harakami's work is also a little bit more... quirky than that too, these tracks are full of fun, almost circuit bent melodies. If you're like me and really dig the style of tracks like this, and the more downtempo Poof, the immediately set sail for his later works, as that would become the staple of his works.



For Yokota's entry, I decided to go with one of the more Harakami-esque bits from Love Or Die - A Song Produced While Floating Alone On Christmas Day is of that similar school, with a very IDM style melodic streak to it. The intro is absolutely lovely, but in true Yokota fashion, it's not long before some surprisingly heavy kicks come into the mix, evoking his House & Techno roots. Don't let that dissuade you though, when the main melody comes back into the mix around the minute mark it fast made it's way onto my favourites list. A very cozy addition to the slightly eclectic tracklist.

As I mentioned before the Discogs page for this one is very misleading, Yokota explores a ton of genres across the runtime of Love Or Die, from the House of the track in question, to Trip Hop on the final track The Destiny For The Little Bird Trapped Inside A Small Cage For Life, to a whole Drum & Bass styled piece in The Scream Of A Sage Who Lost Freedom And Love Taken For Granted Before. And yet the whole thing still feels very cohesive, on paper it might sound a bit all over the place but in practice that's not the case. Another interesting addition to the man's very expansive release catalogue, one that you'll no doubt hear more about as I continue to work my way through it.



And that'll be all for today, a slightly extended one this time, but it's been a while since I wrote so it was nice to get all stretched out again. I even managed to line up a couple more for next month's Friday as well, with it being a longer month as well it shouldn't be as much of a scramble this time. I've got my eye on a couple of other things that I might cover in the meantime as well so I should be back before long - hope you've found some things to pique your interest here today and as always - stay safe and enjoy the music.

-CVF

Seeing off 2021 - One more for the road

Maria Primachenko - Father Frost Carries the New-Year Tree (1960)

Another year, another calendar to file away in a drawer. We made it! And I thought I'd celebrate the traditional ilictronix way: a random smattering of tracks from a variety of genres. Not going to be as long as previous years I don't think just because I'm writing this the morning of, but the spirit is there nonetheless.

Let's start with something a little older (shocking, I know) - I dug out the first Commix album a little while ago when a co-worker was asking me from some Drum & Bass recommendations, they liked some liquid funk stuff but found a lot of it to be quite same-y which I can totally understand. I went a little deep with some of the cuts but also put some general must haves in there too, and Commix's first LP is certainly one of the latter. Coming from Goldie's Metalheadz label, it's among good company in the world of D&B, but it can be a little tricky to get into anything from the 'headz as there is an absolute ton of material to get through given how long they've been around - not the worst problem to have but it is a factor. As for Commix, I've chosen the opening track Be True this time around, but there are plenty of massive tunes on it to get stuck into - it's not quite my favourite from the album, that would be Emily's Smile, but it's misspelled on the Bandcamp page and it irks me a bit. Still, what a bloody fantastic way to open an album eh?



Going even older this time around with some Mijk Van Dijk. I fell in love with his brand of techno a few years ago now and I find his stuff a little underrated in my personal opinion, not every track is golden but those of them that are have quickly become mainstays in my rotations. Which brings me back around to that opening point, I keep tabs on Mijk's bandcamp as it has slowly grown over time, it's very far from a full discography but I imagine it's a minefield of defunct labels and super old releases the man himself might not even have access to anymore - not to mention the issue he'd probably have with putting up his tracks from Ridge Racer and Armored Core. Still, he's managed to get some of the big ones on there, including 1996's The Wildlife, released as Mijk's Magic Marble Box. It ain't my favourite from the man but still a jam, I've gone with his own remix of the title track this time - it's not too dissimilar from the original mix, a little slower though. Partially the bias I have from it being included on a great mix compilation of his works called Multi-Mijk but also because the little touches he brings to the remix highlight what I really love about Mijk's works



You know what? Let's go even older still and get some proper full on Italo Disco in there. I wouldn't say I've gained a new appreciation for the genre this year, but I have certainly got my hands on more of it than ever before - that was a deliberate choice on my part as my love for Eurobeat is very well documented at this point - and to oversimply it, modern Eurobeat is pretty much Italo with a much faster BPM, and the early Eurobeat releases are pretty indistinguishable from Italo anyway. We're getting off topic there though, I'll echo what I've said about this one in the past, Spacer Woman stands out in its field because it sounds surprisingly modern given the original is from 1983. Perhaps not like 'released last week' modern as it's betrayed by the vocals a little bit, but certainly wouldn't sound out of place on an early 00's International Deejay Gigolos or similar compilation. I adore tracks like these as well because of that futuristic edge to them, which sounds a bit silly to say now but imagine hearing this in '83, I was fascinated with the wild sounds of electronic music from an early age, and tracks like this are a perfect demo of the kind of sound that set me on this path.



Yet more from ThorHighHeels this time, I keep wanting to post some things from their soundtrack to Umurangi Generation but the main OST is not on Bandcamp I don't think. Still, some tracks from it appear on Positive Yellow, which itself is a fantastic release - I'm linking to the version on bandcamp with a couple of bonus tracks and not the original this time, there's no real difference between the two otherwise. As I've said before, Positive Yellow is a love letter to the early days of 3D, that wild west kind of time where electronic music and low polygon counts collided on the fifth generation consoles. I am obviously mad for this one, as a young'un a lot of my exposure to electronic music beyond my parent's collections was through my PS1 - I think THH has done a great job of capturing that style without it feeling too pandering, they very clearly have a lot of love for this era too and have done a great job of exploring the different styles of the era. All the while still giving it that slightly tongue in cheek feel that they bring to their video work - if track titles like PIRATE_RIP_GHETTOBASS or ':)' didn't tip you off.



Some more from LNS now, this time going back to the first I'd heard from her in Recons One from the EP of the same name. It's a fantastic introduction to her works, one that gets surprisingly ambient at multiple points too. The opening and title track is pretty far from that though, starting out like a regular electro record from the get go - but when that big stab hit at about 14 seconds in, I knew I was in love, and less than a week later I'd scooped her entire digital discography. I just love the hi-tech vibe here, it was just so different to all the other old school style electro I was listening to at the time - and the way it adds additional layers on every 'loop' is just great too and keeps things feeling fresh throughout. I haven't managed to talk about LNS as much as I would have liked this year but I have listened to these EPs plenty - I'll be sure to take a deep dive into what's been released since and report back with my findings to make up for that though!



A little bit of a repeat of last year this time with another from Yuzo Koshiro's soundtracks to Wangan Midnight Maximum Tune. The series of albums is a properly massive treasure trove of trance that I've had a consistent fling with for a couple of years now, I just haven't talked about it much as only 5 & 6 were available on streaming, along with a re-issue of 4. The later entries of the series are still fine, they do start to stray from pure trance though, dabbling a little in Drum & Bass and even Hardstyle in parts. I played the hell out of one of those hardstyle-style ones last summer with Don't Stop - so when I saw the expansion to 6's OST released, it should surprise no one that my favourite was instantly Happy Moment. Leaving all pretences of being hardstlye-like behind, this one is absolutely 100% cut from that cloth - it's just so unabashed I can't help but like it. Not a genre I'd say I was too into in regular times but man I've been really jamming out to this one over the past month or so.



And finally, right on time same as every year, we have The Knife. I do my best to include this on every new year's roundup, as not only is it apt but I will take any and all chances to shine a light on their soundtrack for Hannah Med H that this is taken from. This is them in all their Deep Cuts era glory, down to the steel pan as heard on Pass This On, it was never included on any other album so you'll have to pick up the full Hannah Med H Soundtrack if you want it, some tracks from it were included on re-issues of their first album but this one is an exclusive. That's not a bad thing at all as it's full of great songs, and it's now really easy to come by now they're on Bandcamp.



And that'll do it for this year, it's been pretty wild but I've managed to keep to my word about being a little more reliable posting here. That should continue into '22, I've had a few tech gremlins on the backend I might have to look into as it seems my strategy of 'it all works just leave it alone and it'll be fine' is starting to fall apart a bit. I also have been neglecting the republishing side quite a bit because I've gotten to the point where the posts I'm fixing are all unformatted and it's a real pain to untangle the mess of code and text so it's readable. But otherwise things should carry on as normal, and you don't come here to hear me vent so I'll wrap it up here!

Thank you all for reading - and as always, stay safe and enjoy the music.

-CVF

Belated Best Of

I sat down today with the intention of doing my annual bevy of tunes to schedule for the day before NYE - what originally started as my teenage electro-fiend self sharing my own personal playlist of big choons sort of became a cross section of past and present faves from a variety of genres. I still intend to do that, but as I started hashing out some choices I thought I'd change gears a bit and instead share some of my favourites from this year. Time has gone all funny as I had to trim some out that were very firmly from last year but I think I've ended up with a good selection, we'll get into it after the break.

It goes without saying it's been a pretty strange year - as such I've been spending a lot of time with HEALTH as their current electronic infused sound is very cathartic at times: often intense and with a pronounced nihilistic streak as well. While DEATH MAGIC is probably still my favourite of theirs, I've got a real fondness for everything they've done since that pivot to the more electronic side of things (which was always there to be fair, it just got more pronounced with DEATH MAGIC). Some of their latest I haven't been so hot on - on paper the collab with Nine Inch Nails should have been amazing, I don't think it was bad mind you, but I think perhaps my expectations were a little high. Still, you're always going to have moments like that with artists no matter what, and the rest of the singles that have been coming out like DEAD FLOWERS have been more up my street. Perhaps not as electronic as previous, but still a very great example of what I mentioned in the opening sentence.



I'd also been spending a lot more time with Oneohtrix Point Never as well. I'm incredibly behind on the man's output nowadays, but I am more than happy to see him achieve the levels of success he has done. I'm pretty sure if you go back and read my first post about OPN when I first discovered him about 10 years ago I mention his work having that cinematic quality to it, and to see him get soundtrack work is very validating (plus as well noted, I am all in favour of film soundtracks being more electronic and interesting than your usual stereotypical 'cinema strings')

But we're getting a little off topic, I've listened to a ton of ambient this year, much for the same reasons as listed above, and OPN's work is still among my favourites of the genre. I've liked a lot of the direction he's taken since - there's been much more experimental output as of late and I'd go as far to say as the last traditional 'ambient' album he did was R Plus Seven in 2013, and even then parts of that album were totally signposting the more experimental direction he'd take. All of this is to say that there was perhaps part of me pining for a 'classic' OPN tune, perhaps not one loaded with lush Juno arpeggios like the Betrayed In The Octagon era but along the same kind of lines.

The original Nothing's Special (that's included as a b-side on this single and on the main album, Magic Oneohtrix Point Never) came close with it's lush synth-work and mournful treated vocals - but the version that features Rosalía on the vocals is just spectacular. An unexpected collaboration to be sure, one that I've seen written off and bashed for as a result, but one that I absolutely adore. My only complaint is that I would have liked an instrumental version on the single to complete the trilogy.



It's not all doom and gloom though, as I mentioned in my little mixtape last post, I've also been spinning a ton of the soundtrack to Unbeatable, an upcoming rhythm game with a little free demo called [White Label] on Steam and Itch. I'm going to essentially copy/paste what I said last time here because otherwise I would just be repeating the same points anyway - Unbeatable has a totally enthralling visual style that is utterly drenched in nostalgia - it's totally designed to target that [adult swim] generation, if you're at all like me and stayed up way too late watching shows like FLCL as a teen, then you'll find it familiar.

The soundtrack does a downright perfect job of complimenting that aesthetic, aping bands like The Pillows to great effect, with a real rough 'round the edges feel that makes sense in the context of the game but also . I couldn't not mention this one just because it became a swift obsession of mine and made up a big chunk of my listening for this year. While not totally electronic, it does stray into that side from time to time: be it the Avalanches style sampling of Proper Rhythm, or the mandatory lo-fi hip hop joint I chose in Homework Salad By Night - it just wouldn't be the complete [adult swim] experience without it now would it?



And finally, a little bit from LNS. A recent addition to my radar, I ended up scooping her entire discography on Bandcamp not long after first being introduced. Her latest, the punnily titled LNS-id, is as you might expect a much more acidic affair than her usual. Don't be put off by the cover though, despite the cover's design, the sound on here is pretty far from 'ardcore acid stuff - as album opener and my favourite of the bunch Blue Acid does a fantastic job of demonstrating. It's a somewhat menacing beast, the Acid is definitely there in the form of a machine gun 303 arpeggio lurking in the background but it's contrasted with these slow synth sweeps in the background that give it an altogether different feel from the small amount of acid I have in my collection (which isn't saying much because I'm really unfamiliar with the genre beyond broad strokes as a result!). The rest of the album is a more standard Acid affair, I don't mean that as a knock though as it's all lovingly done: even following the standard 'Acid' blueprint of sounds LNS still manages to make some interesting stuff but by far and away the most striking is this intro track. Brilliant.



Honestly, there was even more I could have put here. I did hesitate calling it the 'best of' because A) I am perpetually behind on new stuff, so there could be things I haven't even heard yet and B) You all know I like to talk at length, so at least this way it keeps things more manageable! (Plus, I don't know how many more covers I could have used to make that blended pic I used up above for the post either) finally, C) not everything is available on bandcamp unfortunately, so this was the best compromise. Rest assured it was a bumper year for new tunes, I even managed to get some new Eurobeat as well. I'll try and swing back around again with a big end of year track dump, but if I don't manage that take care and I'll see you all in 2022. As always - stay safe and enjoy the music.

-CVF

Trip Report

I am back with a sit-rep on what I actually got around to getting on Bandcamp Friday. No massive changes in plans this time though, I did end up subbing out the Arpanet LP for some other stuff though, as well as getting the ADULT. EP thingy I talked about last time but didn't actually post about. Let's get stuck in.

M.C. Escher - Blocks of Basalt along the Sea (1919)
First major change was I decided to listen to a couple of other LNS releases just to feel them out, I ended up on her latest LNS-id first of all - the pun in the title is stretching it a bit, but as it suggests, this is much more Acid flavoured than the track from Recons One I used last time. I do like Acid, but I don't have a right lot of it in my archives, I feel like it's one of those genres that can suffer from being quite same-y in its execution (but admittedly, I haven't gone too deep into the genre so take that with two handfuls of salt). Most of my Acid comes from Squarepusher's brother's project Ceephax Acid Crew, his work tends to be quite creative in the boundaries of Acid and as you might have guessed from some of those album covers, often very much embracing the sillier side of things. I thought that maybe this one might be the same, what with the massive Acid smiley over LNS' frog logo on the cover and all.

So with that in mind, I wasn't really sure what exactly to expect going into this one - would it be some tongue-in-cheek Acid? A straight up tribute to the style that fully embraces all the clichés like Luke Vibert's Luke Vibert Presents UK Garave Vol. 1 maybe? Not quite as it turns out, the opening Blue Acid grabbed my attention straight away with its ambient techy vibes, the frantic 303 that you might expect for an Acid track is very subdued at first and it gives the whole thing this very different feel than I've ever encountered in the world of Acid before. LNS nails the production side of things here too, just when I find myself thinking that it needs a little something to spice it up, something that changed up the formula would drop right in. I can understand the 303 being repetitive to some, and there are some times where I feel it too - I'd have liked that ambience lurking in the background to have more time to shine like it does around the 4:10 mark - but overall I'm very into it, even if the EP has given me 200% of my recommended dose of 303 for the next few weeks.



Turning around in terms of sound with a bit from that ADULT. EP I brought up last time. One thing I love about about ADULT. is that they are doing a fantastic job of making most of their discography available on Bandcamp, including things that were super rare before. The extremely on brand titled Let's Feel Bad Together EP was previously a Beatport exclusive - but you could also get an 'Official Bootleg' CD of it from their website that they would sign with a little personal message for you too. It's from 2008, so just after the release of the nihilistic and intense punk of Why Bother? - though that LP would sometimes leave the electronics behind, Let's Feel... is very much in the vein of ADULT. releases of old.

It waxes and wanes though, tracks like Dance Avoid feel more like their Resuscitation-era sound and shares some DNA with the album immediately after this The Way Things Fall, whereas album closer Sideways feels much more like the fidgety anxiety of Why Bother>. There's not a dull moment on this EP, each of the four tracks are pretty relentless and don't let up until the timer runs out. They feel a little less fleshed out than the mainline album tracks or even some of their other EPs, but I don't want to make out like that's a negative - it makes everything here feel like the 'best of' of an extended jam session or even some live improv.

This is most easily spotted in Nicola's vocals, there aren't really verses to speak of here so much as her playing around with the titles of the songs, most obviously on Dance Avoid with lines like 'Dance avoid, dance avoid, dancing in a void', but again that just plays into what I mentioned above, and even if the content is much more simple than usual, her trademark delivery does an amazing job of matching that Punky atmosphere. I've picked both Today and Dance Avoid here because I think the two show off the two 'moods' of the EP really well (and because Avoid came on as I was typing and I fell in love with the intro all over again).





I also got around to getting the other two thirds of the Evoked Potentials series from E.R.P. (AKA Gerard Hanson or Convextion). They're super small and bite sized at two tracks each, I feel like the label could have compiled them into one, especially considering the original vinyl releases were limited to a couple hundred copies but hey ho. About the tracks themselves though - E.R.P. has fast become one of my favourites over the past year or so, the brand of hi-tech electro slash techno released under the name just really appeals to me in the same way all the early 90's Artificial Intelligence series from Warp does. I know that's a comparison I trot out all the time when talking about this kind of sound but it's more apt than usual this time, parts of the Evoked Potentials series sound a hell of a lot like the stuff B12 was (and continues to) make.

And you'll find yourself among good company if you're into this style of electro - Discogs recommends stuff like Drexciya, The Other People Place and early Underground Resistance - that's especially true here, of all the E.R.P. I've posted so far, Repose most certainly feels more in line with that kind of style. I just adore the spacey vibes on this one, it's very easy to get lost in - the stripped back ambient turn in the last quarter is just divine. It's not quite dethroned the Alsoran EP as my favourite release from him (But there is some bias there as it was the first thing I'd heard as well), but I will happily snap up more of this sound whenever I find it. My only complaint is a very nit-picky one: for some reason there's a good chunk of silence on the end of this one, it ends at around 6:40 for reference.



And that'll do it for this time. I'm a little late on this one because I took an easy day off yesterday because I was feeling a little sick, but that actually gave me time to listen and hash out some thoughts on these picks so it wasn't *too* bad I suppose. I'll be back soon enough with more but until then - as always, stay safe and enjoy the music.

-CVF

Coming Up

That time of the month where I look over my ever expanding list of things to get and attempt to make some choices for the rapidly approaching Bandcamp Friday. The most recent additions to the wish list have been a a bit all over the place, normally they follow a theme, but I've chucked a couple on as of late that are just there as reminders really, biggest example being the Warp stuff - it's cheaper direct from Bleep but I find Bandcamp easier to browse. But I digress, let's have a look at some potentials for this round.

Rosalyn Drexler - Men and Machines V (1966)
It's not been as tricky this time, I seem to have managed to catch some stuff way in advance so it means I'm not scrambling for options this time. Quite a techy edge to it this time, but I think it's come together semi-naturally from other things that just missed the cut last time. Starting with another alias of Gerald Donald with Arpanet - as both names suggest it's quite high tech electro stuff, albeit in that early 2000's way. It can get a little long in the tooth at times (but I feel that way about a lot of Donald's other work as well), but the moments where it shines are very bright indeed. Album opener The Analyst waxes philosophical about technology in text to speech tones - some still relevant, the extended parts about 'wireless information transfer' with lines like 'people can now transmit electronic mail (...) from their mobile cell phones' not so much. It's a great mood setter for sure, but the real highlight comes in track 2 - Illuminated Displays, an encapsulation of my favourite of Donald's styles, and the perfect soundtrack to the far off year of 2002.



In a similar kind of vein we have Versalife. Recommended to me because I've really liked the stuff that Convextion has put out under the E.R.P. alias - that kind of spacey techno slash electro type of deal (and bonus points for what is I assume a Deus Ex reference in the name). I initially wanted to start with his debut album but opted for an EP instead - easier to digest that way I thought. And I wasn't disappointed as Night Time Activities Pt. I starts incredibly strongly with Solenoids Of Insomnia, and it would have probably been the track I chose for this post but it has strong competition from the one I actually did pick in Tales Of The Unexpected (or Tales From the unexpected if you're going by what's actually on the vinyl sticker). If you're at all like me and are a big fan of the E.R.P. I've posted before, you'll find yourself in familiar territory here: I'm going to echo something I read about E.R.P's work here: it's all real atmospheric techy stuff - I keep feeling like this one reminds me a little of the more downtempo bits on Aphex Twin's Analord series, though not quite as acidic. I'm liking it a whole lot, it seems like my requests of posts past for more things in this style have been answered.



Another tale from my "Wishlist for later, sounds cool" trips is LNS' Recons One - volume 2 is slightly puzzlingly missing from her Bandcamp but there's plenty there to get stuck into as-is. Speaking of puzzling, her releases make ample use of the now-defunct Bullfrog Productions logo, which I'm very familiar with from my younger days, but enough of that, let's talk about the tunes. I wasn't sure how to feel about the title track at first, the beat was good but I wasn't sure where it was going to go, when that first stab at 0:14 took me by surprise in the best way. It builds upon that solid base as it goes on naturally, but I think those stabs may still be my favourite thing about this one. It's a lot less space-y than my previous two picks, much more bouncy and... well, kinda funky to an extent - it reminds me quite a bit of the instrumental DMX Krew cuts in places, but not as out and out funk as those from DMX. I'm a couple of years late on this one, but I'm looking forward to diving into the rest of LNS' releases and seeing what else she comes out with in the future.



And that'll do it for this time, there is an ADULT. EP I've got lined up as well, but it doesn't quite jive with the others posted above so I'll hang fire on that one for now. As is tradition I could end up picking up a bunch of completley unrelated stuff, only time will tell. It might be a day or so before I actually get around to posting the scoops from this time as I have a busy weekend coming up but I'll try and get it written up and scheduled for some point next week. Until then, as always - stay safe and enjoy the music.

-CVF