Creeping up on you like 3am on a work night, when you should be falling asleep but the moon is too bright and your flat starts is contracting with the cold, Naaahhh’s deeply blunted Themes for Blackest Ever Black nails that feeling of transition between worlds, of spirits dissolving into the ether and ready to chuck a few coins to the sandman.
In circulation since early this year, they are as effective as these homemade valium that are knocking around Manchester right now for setting you in that drifty wonky state of soma, coursing the lushest pads thru Blooz, and melting away like a decaying plant in Vini Reilly’s flat with Empty Rituals, whereas My Theme dredges Cthulhu-like dread bass from deep below, and Theme 2 seems to feel out the uncanny valley between Leyland Kirby and his The Caretaker alter ego.
Or, as BEB eloquently put it: “Five tracks of darkside slither from somewhere under London. Sidereal downers for all hardcore ravers. The dread energy of grime and bleep techno distilled into pungent electro-acoustic ooze. Paranoid street music meets the cosmic disturbances of musique concrète, the MDMA spine-freeze of isolationism and England’s hidden reverse. Staccato string stabs, murmured voices, black holes of reverb and pulverising, body-numbing bass. Drums optional. Unwanted side-effects include nosebleeds, earaches, stomach cramps, and nausea. Just say naaahhh.”
Mono's much loved debut album available on vinyl for the first time ever. Remastered for vinyl by Bob Weston at Chicago Mastering Service. Features all-new cover art .
"Under The Pipal Tree is the debut album by now-legendary Japanese experimental rock band, MONO. Released in 2001 on avant-garde icon John Zorn's Tzadik label, Under The Pipal Tree showcased a young Japanese quartet whose wide range of influences - most notably Sonic Youth, Mogwai, The Velvet Underground, and Neil Young's Crazy Horse - were on ferocious and ambitious display.
Though Mono would eventually become known for their expert marriage of metal and classical genres, Under The Pipal Tree highlights the band's psychedelic roots. Long stretches of hypnotic, melodic washes give way to scorching guitar freakouts that evaporate into haunting silence. It's remarkable not just for its earnest exploration, but for its startling execution. Fifteen years and eight albums later, Under The Pipal Tree stands as one of the great debut albums by a seminal underground band.
Finally released on vinyl for the first time ever, Under The Pipal Tree has been remastered for vinyl by longtime friend and tour mate, Bob Weston at Chicago Mastering Service."
Elgato heads up a second 12" of stripped, tracky idiosyncracies for Hessle Audio. The mood here is hushed and even more held-back, when compared with his killer debut. A-side the prowling minimalism of 'Zone' teases the 'floor with slippery, hypnotic bleeps and woozy bass pressure synced with glinting hi-hats to guide yer glide. B-side 'Luv Zombie' again uses a paucity of well-picked elements with that heightened sense of delayed gratification; swirling chords, tucked-in micro swing rhythms and a trapped vocal intonation create a dreamlike atmosphere before sumptuous subs finally show up to accentuate the pendulous effect. Pure, instinctive grooves for those that know.
Raster-Noton bring the excellent, erratic Unun series to a close with some of Jesse Osborne-Lanthier’s most reactive and ‘floor-penetrating productions; bringing elements of EDM, trance and hooj room choons to the boil with a steadfast tolerance for dancefloor/electronic extremity and physicality.
Since 2010, the Berlin/Montreal-based musician has steadily carved a niche between the eyes of modern styles in an almost exponential exploration of styles, persistently short-circuiting dancefloor conventions with a combination of avant-garde strategy and extreme sonics which has lead to some of the most fascinating electronic music in recent years for the likes of Rabit’s Halcyon Veil and Shapednoise’s Cosmo Rhythmatic.
Make no mistake, though: Unalloyed, Unlicensed, All Night is Osborne-Lanthier’s most direct and up-for-it material; a masterful, off-the-cuff demonstration of how to mess with modern templates, using online production tutorials as the jump-off for a quartet of dancefloor mongrels riddled with EDM’s most virulent, effective tics.
At the front Blackwell Dynonetics’ tight, fractal knot of spasming dub chords and footwork spatter comes off like Second Woman linking with Rian Treanor, before The Zika Slam revs ups like some visceral Powell and EVOL collaboration, and the crushing swagger of Integrated Sensor Is Structure sounds like Lurka duelling with Byetone, leaving the dembow bounce and escalating hardstyle synths of Lick And A Promise to ramp like some fierce Kamixlo or Florentino winner.
This one is lands hard on all the right buttons. Can’t wait to hear them loud in the club.
Lord Of The Isles returns with Parabolas Of Neon for his mates at Firecracker.
Arriving in the wake of his debut album In Waves, Parabolas Of Neon spins six iridescent gems refracting elements of new age, Detroit and ‘90s Warp-styled electronics in tightly organised, classical structures.
Sunrise 89 sets the EP off at an angle between swanging NYC garage and thee lushest techno rave dimensions - breathlessly beautiful stuff - leading up to the panoramic peak of Beatha and the ancient-futurist vignette An Stuc.
Flipside he inverts that formula to cushion your head with the seductive ambience of Brtye, and a lightshow of ecstatic harmonics in Tocpe 28, saving the elegiac, slow-motion elegance of his title track for the perfect come-down.
A superb, gauzy ambient techno delicacy from Portugal’s Manta, furnishing Barcelona’s Paralaxe Editions - who also just issued the new Rupert Clervaux & Beatrice Dillon album - after a fine album with Where To Now? in 2015.
Citadel offers six tracks of floating, kinetic techno structures and vaporous harmonics personalised with a dead lush sense of romance and instinctively latinate grooves.
In terms of fidelity, they feel somewhere between Lee Gamble’s quicksilver dimensions, and the gauzy dream space of Teresa Winter; the sort of stuff you could happily sway on the spot with, or bounce around, holding that rare balance of stasis and momentum that’s really quite rare and hard to nail with such elegance.
For highlights go straight to the fizzy but milky hydraulic drive of Kayseri and the beautiful tension of high-tempo drums and slow moving synth layers in Blackwater, or the warped Detroit electro patterning of Grid; you won’t be disappointed!
RIYL Lee G, Leo Anibaldi, deepest Claude Young
NYC's foremost tape loop digger is back with a gorgeous album based around his highly-acclaimed show of the same name.
After a run of much-need archival issues based around Basinski’s seminal The Disintegration Loops series, the New Yorker finally delivers some fresh material for Temporary Residence in the shape of A Shadow Of Time. Formed of two extended compositions, the album has origins in the performances of the same name Basinski gave throughout 2016 and finds him exploring themes of fatality through the decaying medium of his trusty reel to reel players.
The title track finds Basinski again working with his unwieldy Voyetra 8 - a synth he last used on his 2001 LP Watermusic - on a composition dedicated to a friend who took their own life. A year in making before debuting at London’s Union Chapel in February last year, the 23-minute A Shadow Of Time recalls the best moments of The Disintegration Loops, as Basinski wrings out a captivating assemblage of plaintive drones and exquisite melodies.
Face down, For David Robert Jones is obviously a eulogy to the Thin White Duke and was originally commissioned for a performance at LA gallery Volume in the weeks following Bowie’s passing. Here Basinski cannily incorporates some ancient tapes loops chewed up by his “roommate’s cat in New York, this big fat motherfxcker,” with elements of Bowie’s work including his saxophone playing from Low closer Subterraneans.
Hypnotic swingers from the revered DJ and now producer, Elgato, making his debut on the equally esteemed Hessle Audio. Ask almost anyone who's been tracking this underground UK thing for the last decade and they'll have come across an amazing Elgato DJ set, crossing from Grime to Techno and all points in between with consummate style. Essentially these tracks sound like a distillation of all those mixes; the mesmerizing flow of 'Tonight' incorporates dubstep subbass intensity with fluid percussive programming, aligning patterns from Garage, Hardcore and House for an inescapably locked-in groove, recalling everyone from LD to Scuba and Bok Bok in mongrel style. On the flip, 'Blue' is aimed squarely at the Funky/House nexus, rolling out devastating subbass pressure under typewriter rhythms with squashed R'n'B vocals and hovering strings maintaining a sublime tension. To be totally honest, we've not heard anything quite like this from the scene yet and it's going to be getting a lot of plays round these ways. Fans of Narcossist, Ramadanman, and the deeper ends of Doc Daneeka and co need this!
Warm, spacious deep house trax from Vancouver’s Flørist and his alter ego, V. Rosso.
Classic import house vibes here, from the romantic yearn of Windows On The World and its sublime Moving Day Dub hustle to the weightless, Martyn-meets Chez Damier-esque swing of Down & Out, to the nifty, faded pressure of M-80.
Letta serves Coyote a 2nd LP of tenderly weightless grime and R&G one year since his sparkling Testimony debut, bringing Ryan Hemsworth, Mr. Mitch and Fielded along for the ride.
Hailing from Arizona via Skid Row, LA, Letta’s take on UK grime, using similar instrumental palettes but in a more textural, rather than angular manner, much like Rabit’s, feels more spaciously detached and impressionistic than his UK counterparts, almost to grime what Burial was to dubstep, proper.
The album unfolds like the poignant soundtrack to a teenaged sci-fi thriller, full of shatterproof helium voices, minor key chord changes and a filigree blend of fleetingly optimistic and brooding emotions helmed in road-ready rhythms.
Lakker’s Ian McDonnell a.k.a. Eomac christens his Eotrax label with a one-sided, 11-minute techno arrow, Temple Of The Jaguar, in pursuit of last year’s Bedouin Trax album.
It’s a pulsating, bumpy ride thru tempestuous noise at 123bpm, blinkers on and heads-down along a tunnelling trajectory, passing various degrees of immolation to the dysrhythmia of the breakdown and reemergence as a cloven hoofed beast.
Unique rhythm trips from pivotal Berlin player, Burnt Friedmann, following the vectors of his Masque / Penuche 12” for Risqué onto the Paris-based Latency label with six cuts hovering between the dance and bedroom ‘floors.
These tracks feel more smudged and ruffer ‘round the edges than the majority of his output to date for Nonplace, seeking out textured electronic noise and delivering some of the sharpest, technoid drum patterns in his entire catalogue.
We’re not too sure what the dates in the titles refer to - one might assume they’re newly finished sketches started in that year, but we’re really not sure. They start out fuzzy and jazz-wise with he gauzy dollop of 2011 Monkhide, and tentatively find firmer shape with the asymmetric dub fractions and keening neo-classical motifs of 2010 The Pestle, before spinning off the razor-clipped 2-step mechanics of 1999 Nerfs D’Acier, which ends up at something like a 2.1 step.
The biggest highlight, however, is 1996 Intrication, a spellbinding display of whirring trills diffused with mercurial FX and worth the admission alone for the DJs, while the more chiming, tender ambient and drone structures of 1994 Sorcier and 1993 Day In Rho certainly justify our theory about the dates.
No doubt the best we’ve heard from this artist in some time. Tip!
"The best ambient album i've heard in an ice age, an album of terrifying, desolate and all-enveloping beauty" David Stubbs, Melody Maker, 1997
Biosphere's 'Substrata' is a rarely topped pinnacle of the '90s ambient canon. On its 18th birthday, the album's producer Geir Jenssen's Biophon label treats it to a subtle facelift at Pole's mastering desk, reanimating the still-mindblowing likes of 'Sphere Of No-Form' in all their captivating and frost-bitten wonder.
As far as end-of-the-world isolationist music and sound design goes, this album remains one of the most affective we've ever heard. Essential listening for fans of the cold, life-affirming music of Thomas Köner, Mika Vainio, or Deathprod.
Berlin’s Pan Daijing dispenses her personalised brand of raw industrial gunk blatz on Bedouin Records.
Laced-up for the ‘floor, A Satin Sight hurts in four ways - Tenderloin Tanz throws down nerve-biting, distorted machine jack somewhere between Bunker Records and mid-Western US techno signatures; Exile is proper sci-fi EBM for the freaks; A Season In Hell dispenses some of her sternest, bucking structures and dissonance; Nomenklatura polishes the ‘floor with most acrid tang.
A must-have for the hardest-working noise techno jocks.
Peverelist and Kowton lay it down slower, lower for Hessle Audio. Its the 1st physical iteration of their recent collaborations, digging deep into a rugged, muscular, gritted sound distilling their shared tastes for pure, minimalist groove. A-side 'Raw Code' has cropped up regularly in the aforementioned live shows and DJ sets by both Pangaea (RA) and Ben UFO (FabricLive), and finds a sweet spot between Levon Vincent's square-jawed technohouse and more shark-eyed UK flavours for the dancers. B-side 'Junked' tilts the tempo gauge lower, running bashy, shuddering bass hits under corkscrewing dread dub FX and wooden toms for the swagger jacks. Big twelve.
Hessle Audio present their eagerly anticipated single from man-of-the-moment, Objekt. Since smashing the scene wide open with his white label 12"s and remixes for Radiohead and SBTRKT in 2011, the Berlin-based producer has become one of the most talked-about properties amongst those in the know. His convergence of Techno, Dubstep , House and Garage conventions are bold statements on the possibilities of German engineering and UK Bass music, programming new routes and solutions for the most demanding, forward-looking dancefloors. A-side here is 'Cactus', a malleable fusion of molasses halfstep subs, aqua-tech 2-step and Techno sound design which simply sounds like nobody else out there. Flipside is 'Porcupine', a more aggy, pointillist hardstepper pivoting off hard-edged claps while hyper-ventilating rave melodies synch with body mangling bass.
Since dropping one of 2009s biggest dubstep anthems in 'Grimelight' Joe has been busy hammering out some of the tidiest syncopations we've heard on a dubstep tune. 'Claptrap' makes a heavy nod to Spanish flamenco on an intensely clipped and arranged rhythm track, using not much more than claps, sub hits and field recorded atmospherics to get us itching like a good 'un. Crafty DJs will be able to do some serious sh*t with this baby. Meanwhile 'Level Crossing' slices up rattling hi-hats and swinging kicks with kooky railroad sounds for an experimental but no-less enjoyable jaunt sounding like James Blake gone a lickle bit loopy. Aces!
Run The Jewels hold down the cover and chat about their 3rd album inside. Also includes features on Lisbon’s new Jazz vanguard; Eduard Artemiev’s soundtracks for Tarkovsky; Rashad Becker tested by The Invisible Jukebox; all the usual news, reviews and listings.
For the ‘90s electronica die-hards, B12’s Steve Rutter pushes on with the 3rd release for his FireScope label.
Expect clinically crisp, nimble and spacious acid melancholy on Indeterminate Path, and squashed, off-key downbeats in Core Meltdown, followed by authentic AI feels with Carriage 12, and neck-snapping acidic hip hop on MoonStruck.
Epoch is the final album in the trilogy beginning with 2011’s Dive, 2014’s Awake and culminating with this year’s Epoch.
"Epoch hones the sonic aesthetic of Dive while drawing on the kinetic energy of Awake, it explores darker themes and new musical territory. Earlier this summer Tycho released their first single “Division” and just last week released their second single and title track, “Epoch.” The surprise album is available digitally today and for physical pre-order now.
When discussing the surprise element of this release Hansen said, “I've never been fond of the ‘hand in the album then wait 4 months for it to come out’ release schedule and with the prevalence of streaming and digital distribution it felt like the right time to step outside that way of doing things.” He continued, “I wanted to be more connected to the people consuming the music. There is a kind of visceral fulfillment you get from sharing something that you've just created with other people. We just finished mastering the album in late august so it will barely be a month old when people hear it. That's a very satisfying feeling as an artist.“
Epoch was produced and recorded by Hansen predominantly in his home studio in Berkeley, California. The album was arranged alongside long time collaborator and partner in the project, Zac Brown. Brown contributed bass and guitar parts to the songwriting process. Rory O’Connor performed drums on the album. Hansen sees Epoch as a multi-dimensional artistic vision at the confluence of his graphic design work via ISO50 and music with Tycho. The graphic presentation of album artwork is as important as the music itself. The keystone is the central image of Epoch and the colors scheme red and black. This is a stark contrast to the almost rainbow palette of Awake."
Première release of a pivotal piece by important American composer, Julius Eastman.
After more than 40 years, Julius Eastman’s Femenine - a euphoric, colourful, and inventive work by the brilliant but criminally overlooked composer with the S.E.M. Ensemble - finally sees the light of day thanks to Finland’s Frozen Reeds, bringing to life a wondrous iteration of the highly fertile 1970s north american minimalist/modern classical nexus for a whole new generation of ears.
Notable not least as the only known recording of Femenine, recorded live in 1974 at Composers Forum in Albany, New York - which makes it only the 2nd CD with Eastman’s name at the top - this release also documents the composer on piano (whilst wearing a dress, as it goes) and features his unique innovation, a set of mechanised sleigh bells, rattling throughout the 72 minute performance, which, in a way, neatly characterises the artist’s wide-open, pioneering idiosyncrasies and dichotomies for anyone new to his work.
Un/fortunately, depending your perspective, far too many folk will be new to his work or even unaware of Eastman’s involvement in some true totems of the time; whether that’s as lead vocalist on Peter Maxwell Davies’ Eight Songs For A Mad King (1971), playing keys on Dinosaur L’s disco-not-disco classic 24→24 Music (1981), or conducting Arthur Russell’s Tower of Meaning (1983). And we say too many folk, because, all considered, until quite recently, Eastman has been long overdue the shine afforded to many of his peers and contemporaries.
As a Gay, Afro-American new music composer, pianist and vocalist in the ‘70s, Eastman’s work was innately politicised and exceptional by the nature of its provenance, not to mention the music itself, which pulled from his personal history as much as wider social movements to represent a uniquely fluid perspective on minimalist music’s rigid process and presentation right up to his untimely death, aged 50 in 1990.
With that in mind, Feminine stands at a crossroads between Eastman’s earlier chamber work Stay On It, and later pieces such as his iconic, majestic Evil Nigger and the ambiguous flux of emotions in Gay Guerilla; sounding quite unlike any of them thanks to its sense of communal joy (there were somewhere between 12 and 15 players) and the polymetric meter of his mechanised sleigh bells, coupled with a display of massed, pitching tonal colour that moves with the kind of deliquescent, flighty optimism that’s hard not to be wowed by.
Ultimately, it genuinely lives up to the mantle of “new music” and presents its ideas in a deeply refreshing, insistent, yet never-cloying manner.
A huge recommendation.
With the resurgence of interest in folk music it's hardly surprising to see countless compilations showing up week after week, but compilations this moving and this important are rarely chanced upon. This disc puts together the lesser heard folk tracks, songs recorded by artists who weren't sponsored by major label money, artists who simply made music because they were desperate to make music, artists free from poisonous delusions of grandeur.
You will likely not have come across one of the fourteen ladies on this disc, but each one has a distinct voice and will have you aching for more - that's the power of this unique compilation. Like last week's sequel to 'Folk is not a Four Letter Word' and the recent Finders Keepers releases, this is music you already love, you just don't know it yet. From heavenly strumming of Linda Rich's 'Sunlight Shadow' to Jennie Pearl's tear inducing piano-led 'Maybe in Another Year' these are tracks which simply make you wonder why you haven't heard them yet.
The voices are so distinct and the songs so powerful that at some point you have to think how odd it is that the records haven't had more publicity, but there we have the power of the major label, and when these gorgeous lullabies were pieced together the independent music scene had little or no power at all. We have to thank Numero for finding and repackaging such essential tracks and treating them with the respect they deserve.
Definitive performance of an 88-minute piece for trio written in 1983, recorded in 2000.
"In 2000, Eberhard Blum (flute, alto flute, bass flute), Nils Vigeland (glockenspiel, vibraphone) and Jan Williams (piano, celesta), Morton Feldman’s close friends and collaborators, came together once more as “The Feldman Soloists” to perform Crippled Symmetry, the trio Feldman composed for them, on the 25th anniversary celebration of June in Buffalo, the festival he founded.
The recording of this concert is now finally available on CD, and is destined to become the reference recording of this work. It is required listening for all fans of Feldman's rich, hypnotic world of enigmatic harmony and mnemonic echo. Mastered by Denis Blackham, and presented in a card package which unfolds to reveal the musicians' "butterfly-like" arrangement on stage. "This turned out to be one of the best performances that we had ever given together. The rare and indescribable ‘magic moment’ of occasion and ambience seems to have inspired us. T
he recording of the concert belongs to my most valued sound documents. When I listened to it for the first time, my immediate reaction was: this performance ought to be available on CD. Now, ten years later, it is.” - Eberhard Blum"
Feted selector-producer Intergalactic Gary makes his debut under that name alongside Greek artist Pasiphae on the Made Of Glass EP with Amsterdam’s Biorhythm.
Decades of dancefloor knowledge are turned to their advantage in four tracks, seducing with the silvery thread of melody and moody blue bass chords of Made of Glass, and proceeding to drag us somewhere muckier with the Ra-X/Drvg Cvltvre-style slow thud of Disconnected, and a more rasping, distended beast called Second Term that comes in two squashed but delirious versions compatible with Ian Hicks’ aces for Clan Destine.
The Tapeworm present four recordings of Mark Fell’s Focal Music, wherein Mark plays a pattern generating system thru headphones to Laura Cannell (Violin), Sandro Mussida (Piano) and Aby Vulliamy (Viola), respectively, who play along in real time, with results documenting their attempts to negotiate the pattern’s subtle and unusual changes.
Focal Music stems from a workshop in which Mark participated, led by British sound artist, composer and performer Jan Hendrickse, where Mark played the pattern generating system to drummer Patrik Jarlestam, who followed the pattern on a single snare drum.
We won’t go into the detail of the values set for those patterns, but they basically get quite tricky to play along with, especially when the timing intervals change, pushing the player to draw on their own musical training and sonic vocabulary to fill those quantum shifts, not in the pursuit of a “perfect recital”, but, rather to illustrate the difference between rigid systems, received knowledge and human nature.
Ostensibly, aesthetically, the pieces may bear no resemblance to Fell’s signature electronic palette or the rhythmic resolution of his dancefloor-oriented releases. However, thru the players’ attempts to keep in sync with Fell’s favoured, unconventional meters, and the array of strange timbral quirks that their efforts throw up, it’s possible to detect Fell’s conceptual input in each performance’s stringency and minimalist tension, and in the way in which they unflinchingly highlight what lies between illusion and reality, and the way we mis/interpret that space between.
Beat-less modular improvisations made in the Hawaiian jungle
”Anthony Child AKA Surgeon presents the second volume of recordings of Buchla Music Easel recorded in the jungle of Maui.
Again we find Child's in a more ambient guise and setting as the calm breath of the jungle sets a real time back-drop for his electronic explorations. There is no additional layering and all environmental sounds simply 'occurred' throughout the improvisations. The range on display veers from melodic drones to sparkling arpeggios all revolving around a thick bed of (Buchla) electronic and (environmental) acoustic interplay.
Nine Personality Type Map hovers on a bed of syncopated rhythms whilst the nearby sonic mist of the forest seeths in and out of the frame whilst Nightfall Of Diamonds provides a sonic analogy for the darkness and light contradiction that occurs only in such rich natural environments. The simultaneous acts of improvising, listening and creating provide a rich setting for the curious listener. Another gem in a catalogue filled with gold.”
Cutthroat, boisterous grime instrumentals from two of the scene’s hottest producers.
Together, Boylan & Trends go psycho with the slashing grime-drill dynamics and reversed Hermann strings of Norman Bates set for outright club destruction, whereas on their respective, individual shots Boylan smacks Busta Rhymes into thee most ratchet ongy bongy riddim called Shimmy, and Trends tears out the rictus funk of Octopus with guttural mid-range stabs.
Jerusalaam forms the 4th and final vinyl disc from Muslimgauze’s sought-after Tandoori Dog boxset to arrive on CD, now nearly 20 years since the original release.
The vast majority of Jerusalem slots ruggedly into Bryn Jones’ unique category of salty, tetchy drums ’n dub noise, with some rude highlights found in the dense but light-headed pressure of All The Stolen Land of Palestine and the convulsive flurries of tabla and flute that reshuffle themselves between ready shocks and rolling slow house in Sufiq Gulf Breeze 1-2.
However, the final two tend toward that Muslimgauze niche of crisp, prickling electro-dub and atmospheric collage, spreading out for 14 minutes of moving, hot-stepping designs in Unused Return Of Black September Track 1, and farther out into unmetered electro-acoustic zones laced with floral arabic strings and sparse electro pulses under a shifting patina of voices.
Make sure to check those last two!!
At last, a chance to hear the debut album of motorik jags from Stereolab’s Tim Gane and Joe Dilworth, together with Holger Zapf as the Cavern of Anti-Matter power trio - originally issued on Berlin’s Grautag Records, now reissued on Duophonic.
Revolves a heady rush of references to Bowie’s Chant of the Ever Circling Skeletal Family, Mahogany Brain’s Bloody Hide and Seek in The Rain and Hot Elbow, and the front cover to Heldon 6 shaped into 16 high velocity, high sheen rockets bound to ignite the tastes of classic kosmiche and psych fiends.