Gemini finds Wild Nothing’s Jack Tatum constructing a striking, solitary monument to just about anyone who moped, sulked, or bedsat their way through the 1980s.
"His love of dreamy, fuzzy, handcrafted guitar-pop isn't far removed from the Radio Dept. or the Pains of Being Pure at Heart, but he displays a more comprehensive and widespread commitment to classic indie pop sounds. Revivalism notwithstanding, his craftsmanship is undeniable and the details are spot-on: Check the reflective bell tone in "Live in Dreams", the Cocteau Twins-like, artificial synth tom in "Drifter", and the Johnny Marr homage in the twinkly guitar fade-in that begins "Our Composition Book".
While Tatum plays hopscotch with his collection of 4AD, Factory, and Slumberland records, Gemini has plenty more to offer than sonic verisimilitude. On album opener "Live in Dreams," he sings, "Our lips won't last forever and that's exactly why/ I'd rather live in dreams and I'd rather die," and the lyric plays out like Gemini in miniature: While Tatum's words can edge on maudlin, his delivery is more romantic than dreary, and there's a sly, understated, and subtly addictive melody that gorgeously frames his sentiments. And melodies like that one, which the album features in spades, are ultimately what make Gemini more than just another indie pop record, and often more than the sum of its parts.
Of course, that's not to say that each of them connects instantly. Though a handful of immediate standouts reward first listens, the record's debt-to-influence ratio may initially seem to overshadow the strength of the music. However, repeat spins reveal Tatum's strikingly innate sense of songcraft, as these tracks gradually earworm their way into daily life."
Nina Kraviz and Anastasia Kristensen lend a cold and steely touch to tracks from Special Request’s ‘Belief System’ album, backed with exclusive SR cut; ‘Looking Glass’
Nina K renders ‘Curtain Twitcher’ in two ways; a driving ‘Alice Was here’ remix pairing her own trippy vocal with a driving techno engine, and a drily slinky ‘Samba Version’, whereas Anastasia Kristensen takes ‘Tiresias’ for a grey area techno slug-out topped with elegiac pads.
On his own, Paul Woolford a.k.a. Special Request bares his fangs on a rasping tech-step twiss-up recalling classic Renegade Hardware and DJ Scud gear.
No nonsense acid techno and lush ambient dance music from Oslo’s André Bratten
On the first in a trilogy of 12”s, Bratten really impresses on both sides, first with the stonking warehouse welly of ‘Un’ at a clenched and unrelenting 145bpm tilt recalling Bjarki and Caustic Window era AFX, then to the contrary with a wide, beautiful tract of floating pads and percolated techno pulses in ‘Pax Americana’, whose whirring rhythms also sound great at 33rpm rather than the recommended 45.
Sun dazed Antipod-earia from Danny Wild’s Low Slung on Aussie label, Ken Oath Records
Marking his 2nd move on the label after the ‘Coastal Garden’  single, ‘Blow waves’ expands on Low Flung’s hackneyed definition of ambient downbeat music over a whole LP, resulting in a slowly congealing blend of analogue synth sources spread on drum machine grooves...
Coyote Records launch a class début from VIO_L3T into orbit of UK drill, grime and weightless styles, backed with a signature, playfully moody remix by E.M.M.A.
Hailing from not-so-grimy Somerset, VIO_L3T fidns a balance of inner city tension and more spacious, widescreen synth feels to his first release, scanning the expansive synth intro and cold drill drums of Cloud-Tech next to the teetering dembow break structures and spiralling arps of Sentinel and the clipped, airy bump of Fragment.
E.M.M.A. gives Cloud-Tech a more immediate appeal, curtailing the intro so she can get busy with slugging bass and a more psychedelic, less glum synth arrangement in signature style.
Big-boned house swangers from Marquis Hawkes and UK soul man Jamie Lidell
Properly gunning for that late ‘90s garage feel, it’s all gladrags and handbags for the stiletto stompers and trotters in ‘We Should Be Free’, while the Hawkes Dub sidelines Lidell in favour of big keyboard chops, and the Hawkes Club Vocal brings him back on an even chunkier sound driven by big, juicy bass. Best of all is the frisky drum track ‘Bonus Beats’.
Lithuania’s Patrica Kokett swivels on a mean, slow groove in four bugged-out ways for the excellent Knekelhuis label
“Patricia Kokett’s sound is shrouded in a veil of mysticism. The brainchild of Lithuanian Gediminas Jakubka, Diabel’s metallic heartbeat underlies a magical superstructure that evokes some kind of DMT infused trip. Or possibly even some kind of ancient ritual, where one is intoxicated by serpents blood. Guided by repetitive drum patterns, it creates a slow joint dance that opens the path towards transcendence.”
Change The Station (1986) – An abstract album that sees A Certain Ratio bring the funk to laid back ambience in a way that only they could.
"The party is still there and it’s more hypnotic than ever.”
Big room/family-size chunks of Detroit house, revolving around Carl Craig’s ‘C2Back2ThaBasicsEDIT’ of ‘Heavy’ full of happy piano chops and Steffanie Christi’an’s soulful vox, along with the stripped down ‘Dub’, and the brooding build of Inner City’s own ‘Dark Side’ mix loaded with KMS’ lustrous Reese bass.
Copenhagen’s regenerated Multiplex dispense a long overdue 3rd ‘Tivoli Trax’ volume of leftfield house cuts
Kicking off with the crunchy IDM breaks of Hüebsch Originators’ ‘Merchants of Venice’ from the ’Tivoli Trax’  CD, then switches tack into subaquatic deep house in ‘Bodies’ by Vassdrag, along with the cruise control swing of B From E’s ‘No Memory’, and the hubby bubble of ‘Nightwave’ from Dennis Bøg a.k.a. Reissue a.k.a. Dennis Uprock.
Benoit B follows his ‘Japonaiserie’ 12” for Berceuse Heroique with a classy ride between bass-heavy electro and smoky Gallic downbeats for Wisdom Teeth
For the ‘floor, Benoit tees up the lush electro suspension system of Vague à l’Âme and a beautifully crafty mix of whirring trills and Martian woodwind in Kimono coming off like a mutant Red Planet number.
In between those cuts he explores a more sultry style in the Far Eastern-inspired sashay of Gyvenimo Tékmé featuring vocals from Dália, then with the nimble, hyaline designs of Ice Valley landing somewhere between Jay Glass Dubs and Invisible Cloaks.
Nyege Nyege Tapes return with their third ever vinyl release; an amazing collection of thumb piano recordings by Ekuka Morris Sirikiti, a legendary Mbira player from the Lango people recorded from Ugandan radio c.1978-2003. Heavily textured with radio static and ferric distortion, think Konono Nº1 or Honest Jon’s East Africa sets relayed by The Conet Project...
Hailing from the Langi tribe of Lira, Northern Uganda, legendary local griot Ekuka Morris Sirikiti performs his music in various situations - festivities, market days, and other gatherings - on a homemade foot/drum contraption coupled with the Lukeme; a small, handheld thumb piano that produces flurries of metallic rhythmelody under deft digits, and is maybe best known as an Mbira in its heavily distorted use by the DRC’s amazing Konono Nº1, as well as myriad other recordings from the vast Central and East African region.
Entirely comprising recordings of the original radio broadcasts made on various devices, the music on ‘Ekuka’ is distorted to differing degrees, resulting in a broad spectrum of fidelities that are both unavoidable and inherent to the music, its reception, and its perception by those who didn’t catch the broadcast as it happened.
The 12 songs selected zig-zag across the timeline 1978-2003, with an alternating patina of ferric noise that camouflages their chronology - it’s difficult and unnecessary to discern their recording dates, as the songs serve a timeless social purpose, from everyday reminders to be a good husband; take your kids to school; and don’t disturb the wife of your son; to Government commissioned warnings about venereal diseases, drinking alcohol and paying taxes.
Considering this all took place against the backdrop of tribal warfare and cattle raids by rebels, the raucous laughter on ‘In Boloney For Ayinet’ demonstrates the humour and pathos behind the songs in a way that may literally escape listeners elsewhere. And in that context ‘Ekuka’ is quite unlike most other vintage recordings which resurface outside of Africa beyond, say, Honest Jon’s ‘Something Is Wrong’ and ‘Bellyachers, Listen’ sets, which admittedly document a much earlier period c. 1938-1957, but were also selected from recordings not specifically or even vaguely conceived for the international market.
As with Nyege Nyege Tapes’ previous dispatches from modern day Tanzania, Uganda and Kenya, ‘Ekuka’ provides a genuinely street-level, unfiltered perspective on unfathomably long-rooted traditions in a way that sounds incredibly fresh, unfamiliar and hugely interesting to keen ears the world over.
Rodrigo Amado: tenor saxophone Joe McPhee: pocket trumpet, soprano saxophone Kent Kessler: double bass Chris Corsano: drums
"Great dedicated music by four strong individual players, brought together by Portugese saxophonist Rodrigo Amado – intense communication with room for outbreaking solo-parts but always held together through a vision of playing together, exiting and interwoven with beautiful melodies!"
Freakish, high-impact techno missiles from Bjarki on Nina Kraviz’s Trip
Check for the wide-eyed 150bpm pounder ‘Oli Gumm’ with its shattering breakdowns, and the mash den trample and avian squabble of ‘Hatann Satann’.
A stargazing electro-techno session from Barcelona’s Lone Romantic label
Levels are set astronomic with the Doppleffekt-like arps and bone-rattling electro breaks of ‘Hohenheim’ and its ‘floor-engulfing 2nd drop, while the bilgy hydraulic pump of ‘Shimano’s Tribute’ comes off like a rogue Ultradyne transmission, and ‘Edelweiss’ twists off into E.R.P.-alike deep electro territory.
Steve Poindexter & Traxman boot off their Factory Music Chicago label with a banging pack of hard-to-find and exclusive Chi house bangers
Windy City pioneer Poindexter percolates the dance proper with ‘Return to the Ghetto’ from his ‘Demolition Man’  12”, beside the dusty, tracky exclusive of his ‘911’ banger with Armando featuring killer synth sirens and maaad subbass.
Down below, Traxman brings up the filtered jack of ‘1990’ in classic style, before reworking Armando’s classic ’We’re On The Move (Snare Yo Azz Off)’ with a tight, simmering jack beat.
DJ Protein pipes up with a ruddy ghetto-house flip of Destiny’s Child b/w a pendulous deep house ace
Fabio Monesi a.k.a. Hissman - a.k.a. DJ Protein for purposes of this 12” - gives the club what it wants with the A-side’s gritty call + response spin on ‘Say My Name’, while the B-side is rolled out raw but plush for the swangers.
Killer jump-up jungle jams from anonymous, incognito sources
Infectious rave goodness on both sides, teeing off a ’95-into-’05-into-’18 sound with the A-side’s jungle and grime flex, then diving in with a lush re-fusion of bifurcated happy hardcore, deep and jump-up vibes on the B-side...
While Kevin Drumm has a reputation as a harbinger of doom, he also possesses an instinctive gift for quieter and meditative tones which are deployed to sublime, melancholy effect on this epic new double album. It generates a phosphorescent shadowplay of electro-acoustic tones and timbres comparable to his landmark releases Imperial Distortion and Tannenbaum in terms of their palpable yet somehow barely-perceptible spectral presence.
The first LP in the set is a special addition to the Drumm oeuvre. One of the most varied slabs in his catalogue, it moves in four parts from the keen of hollowed/hallowed resonance in The Forthright Fool to a transfixing pair of works entitled The Loop A + B, with the former sounding like Rainforest Spiritual Enslavement meets AFX’s SAW II ambience, and the latter deploying a gauzier sound sphere of coruscating tones and genteel chaos intensifying to a swarming panic attack, before the B-side-long Old Connections smears that tension with a paralysing, eviscerating force like being buried and slowly dissolving within a glacier.
From that subtle departure of the new paths of Disc 1, the 2nd plate returns us to more familiar Drumm terrain in all three sections. The longest, A Blind Spot hearkens to the supremely rare effect of Imperial Distortion, somehow coruscating yet amniotic - a proper metal ambience - while the final side’s Social Interaction feels like a smothered, internalized expression of Aaron Dilloway’s grotesque body gurns, and the near-static shimmer of Reverse Osmosis lends a suitably ambiguous close with an unyieldingly slow yet somehow lush strokes of genius.
Details of Gustave Doré’s wood-engraved illustration from The Rime of The Ancient Mariner by Samuel Taylor Coleridge adorns the sleeve and firmly hints at the poetic tempest and grain of Drumm’s work inside, which fixes its gaze not on the drama of the situation, but the tension and anxiety which frames it.
Absolutely aching with soul, Mississippi’s vinyl distillation of Clinton Walker’s acclaimed ‘Anthology of Aboriginal Country Music’ is a truly revelatory set of country music made by native Australian artists, almost guaranteed to open and plug a unique gap in collections everywhere...
Coincidentally arriving only weeks after the Efficient Space reissue of Waak Waak Djungi’s blend of synths and native Australian folksong in ‘Waak Waak ga Min Min’, this typically amazing Mississippi LP shines a light on a spellbinding, often unsettling, niche of music which is perhaps understandably unknown to listeners outside of Australia, yet should be instantly familiar to anyone with even a basic appreciation of blues and country songcraft.
From the mesmerising lilt and buzz of Black Allen Barker’s ‘Take Me Back’ to the heartbreakingly humble delivery of Jimmy Little’s ‘The Coloured Lad’ and the distinctively NSW-twang and bluesy rasp of Maisie Kelly’s ‘My Home In The Valley’, this is an incredible set of songs that will resonate with listeners far beyond their original home.
Laurel Halo returns to album format after two critically acclaimed EPs with the driving, meditative 'Chance Of Rain'. Evolving from earlier works, it's a cerebral exploration of the intersection between rhythmic and ambient music, drawing together moments of movement and stillness, psychedelia and presence of mind.
On 'Chance Of Rain', rhythms melt with unpredictable structures, ambient drift and deep harmonic passages, while keyboard-based interludes reinforce both the far-out and contemplative aspects of the record as a whole. Halo's evolution as a live performer has directed her music's development in part, as the tracks on ‘Chance Of Rain’ are fleshed out versions of live hardware improvisations. This LP is far off from the definition of a traditional dance long player; where tracks like ‘Serendip’, ‘Chance Of Rain’ and ‘Ainnome’ invite with infectious grooves, others like ‘Oneiroi’, ‘Still/Dromos’ and ‘Thrax’ invert these energies, revealing sinister potential in the process. Again Halo's knack for illusory detail and sound design shines, and another duality feeling emerges, this time one of unearthly joy. Drawing inspiration from the music of her home state's music capital Detroit, in both harmonic and rhythmic palettes, the music showcases freedom within metric constructs, and skyward optimism in the face of decay. The album comes packaged with artwork created by her father, an NYC-born, Michigan-based visual artist whose work focuses on industrial landscapes of Michigan and the Rust Belt at large. The artwork here is an early work of his from the 1970s, reflecting the album's twisted, hopeful tone."
Haunting, levitating tribal house hustle from your boys Zarate_Fix & DJ Sotofett, brought to life for Sydney’s Thug Records with armchair assistance from DJ Fett Burger.
Sights are set on the long game with Planetary Involvement; whether used as a stargate for the early hours or in the wee small ones, the finely stacked layers of glutinous bass, hovering lattice of percussion and tentative chorales will work some seriously hypnotic magic on any crowd that knows how to dance without FXCKING MASSIVE DROP HERE or PUT HANDS UP NOW signposts.
Flipside, you get a rippling Planetary Dubb burning off any excess and leaving only the spectral groove residue and flute calls beside the beat-less, hyaline synth dimensions of their Solar Mixx.
Lark’s 'Can I Colour In Your Hair' featuring a flip side dub version by Andrew Weatherall.
"Can I Colour In Your Hair dates from the period that formed Lark’s debut and was always intended for its own vinyl cut. While the Andrew Weatherall version that followed, a while later, featured in his BBC6 music 6 mix and gained traction in his club sets, the physical record has proved elusive until now."
Proper, deep, R&B garage bimmer from 1990, dug out and dusted down by Dublin’s Compassion Crew, reissued with new, uptempo remix and bonus dubs by the original artist and The Man In Bed.
A-side gives up the immense treat of Don’t Tell Me (How Love Should Feel), a sterling slice of slow-mo, Kwaito-sounding garage house and R&B that melts on the mind. Even if you never heard it before (hardly anyone has), you’ll be singing along by the end of your first listen. The dubbed-out, house tempo re-rub from Compassion Crew is also worthy of its place, and Larry’s Luxury Dub, so titled after the original label, should be reserved for nights in with your bae. B-side, The Man In Bed (who dat?) dubs out the original in three dreamy, wickedly tweaked versions, also very much worth your time.
With original copies pretty much a myth, consider this your only way to grab this slice of deeeep dancefloor magic.
Following a sixteen-year gap between albums, The Avalanches return with their new album,‘Wildflower’, featuring Danny Brown, MF Doom, Father John Misty, Toro Y Moi, Jennifer Herrema, Biz Markie and more.
"Created by the band’s core duo - Robbie Chater and Tony Di Blasi - ‘Wildflower’ is nothing less than The Beach Boys’ ‘Smile’ reimagined in the Daisy Age; a mind-bending cartoon road movie that’s best viewed with closed eyes and an open mind.
Lead track ‘Frankie Sinatra’ is an infectious old world carnival inspired rollercoaster of a song. Featuring Danny Brown and MF Doom on vocals, the song also includes works by calypsonian Wilmoth Houdini and Rodgers & Hammerstein.
In the years since the release of ‘Since I Left You’ the album has established a rarely seen loyalty, its influence ever growing in the age of digital music, sampling and bedroom producers. The Avalanches, meanwhile, have become the stuff of folklore, with rumours abounding about a long awaited follow-up record. Today the rumours end."
Awesome set of also-ran Brazilian beauties plucked out by Millos Kaiser ov Selvagem. Worth it for Vånia Bastos’ head-turning cover of Sweetest Taboo alone, to be fair… 1000% killer no filler!
“Some crate-digging compilations are often the result of someone hand-picking their choice favourites from another country’s musical history, perhaps unaware or uninvolved with its cultural lineage in the process. On Soundway’s latest release - a treasure trove of synth jams, pop, samba boogie, balearic and electro from 1980 & ‘90s Brazil - the tracks are picked by Millos Kaiser, one half of the Brazilian duo Selvagem, who are at the helm of throwing some of the country’s best dance parties. It’s a rare compilation that offers Brazilian music actually picked by a Brazilian
Whilst names such as Ricardo Bomba, Villa Box, Fogo Baiano, Electric Boogies and Batista Junior may not be household names, they tell an untold, yet rich and important part of musical history in Brazil. The release also covers a decade that has been intentionally forgotten and brushed aside by many in the country.
Onda De Amor is a release that is loaded with smooth grooves, bubbling bass, glistening synthesisers, funk strutting guitar lines and sheen of production that undeniably marks it of its time. For Kaiser this compilation is about reintroducing music during a period of reappraisal, catching a new wave and hoping contemporary listeners will ride it with him. “The idea is to do justice to these songs. Songs that combine all the right ingredients that should have put them on radio playlists when I was growing up or at least in the cases of more adventurous DJs”.
Millos Kaiser is a DJ, digger, vinyl junkie/dealer born in Rio de Janeiro and living in São Paulo for the past 8 years. He launched the dance party/club night Selvagem with partner Trepanado in 2010, bringing thousands of dancers one Sunday a month to a public square in the heart of São Paulo.”
Best yet from Tessela on his Poly Kicks label, substituting stilted 4/4 and breakbeat patterns for a slinkier, supple and hypnotic style with little concession to his proper techno drive.
In Sorbet it sounds like this transition is occurring before our ears as his syncopated drums gradually grate their cogged teeth into a a sort of coarsely fluid swing smoothed out with contrails of diva vocals subtly contoured into rave peaks.
By the time we get into Diving on the B-side his drums have worn down to a frictionless roll of B-More breaks underlined with brooding Reese bass pressure like some early ‘90s KMS ace.
Beneath does K-Pop on his latest plate for Mistry.
We jest: he’s back on that UKF/post-dubstep grind with typically shark-eyed swerve, churning up jabbing drums in a mire of boggy subs and amorphous spectral dub FX on Special Offer, which drips off into a dead tangy 2nd half after the drop, before Kushty rolls out slower and more rhythmelodic with hypnotic chiming lead contrasting the cut’s pendulous bass pressure.
Nowt flashy, but it works so well.
Clark coughs up two balls of anthropomorphic rave on Warp
Gunning for peak times with the cavernous bangs and harmonic hypersonics of Honey Badger, then swanging out with a funkier variation in the AFXian dissonance and kick drum permutations of Pig.
Reissue of Moodymann’s The Telephone EP , featuring Forevernevermore (Remix) - an electroid reshuffle of his classic 1998 cut - backed with the devilish broken beat swerve of Telephone Blue, both exclusive to this 12”.
The Forevernevermore (Remix) is prefaced by an sawn-off anecdote that could go somewhere juicy, just before it’s cut off into a subtly filtered and tweaked version flush with the original strings, but nudged with a tighter electro swing. On the other side, Telephone Blue serves some of KDJ’s deadliest chops, initially sounding like Soundhack on the sampler, then hustling some of his deepest, swingeing drums, seemingly done live and loosey goosey in-the-mix.
After a searing run of releases and remixes, Ancient Methods makes the natural move to working with vocalists in The Asking Breath Comes To Each, teaming up with Tropic Of Cancer, Huren, Zanias, and Azar Swan for a distinctive new addition to AM’s carefully expanding catalogue.
The sole preserve of Michael Wollenhaupt for some years now, in the last few years Ancient Methods has carved towards working vocals to deadly effect on a number of remixes for everyone from The Soft Moon to Wolfsheim, beside his own edits as Room 506.
All this has clearly fed into the stonking original material found on The Asking Breath Comes To Each, which royally boots off with the harpy screech of Azar Swan over the scorched earth gallop of Swallow The Screw, before trimming back to the acidic darkroom canter of The Standards Will Come And Go feat. a possessed Dave Foster aka Huron - arguably summat of a wet dream for anyone who needs talc to help get their duds on.
Tropic Of cancer executes a perfect, pensive and floating counterpoint to the razor sharpened 16th note serrations of It Won’t Take Me on the B-side, and we’re feeling pangs of guilty glee towards the borderline cheesy/lush epicness of Zoe Zanias’ vocal on the restrained pulse of Andromeda.
Available officially for the 1st time this decade, Geinoh Yamashirogumi’s dramatic Symphonic Suite Akira arrives just ahead of the seminal sci-fi animation’s 30th anniversary. This is a facsimile reissue of the original Symphonic Suite Akira album, featuring original unremixed and complete versions mastered from same files as the 1988 release. This is not the version with dialogue and all the madness!
The ten track Symphonic Suite Akira essentially documents the film’s sonic architecture - a magisterial blend of musics from around the world, meshing the disparate systems of Bulgarian choral music, Buddhist Temple chants and Balinese gamelan in a lushly complex alliteration of sounds which framed the film’s post-apocalyptic Tokyo backdrops and cyberpunk themes.
It took Shouji Yamashiro and the 200 musicians, engineers, scientists who comprise Geinoh Yamashirogumi over six months to make Symphonic Suite Akira, apparently recording with an effectively limitless budget, and it shows. At the time of release this was an ambitiously proggy effort in consolidating various harmonic systems, building on the technologically enhanced examples of YMO and early ‘80s 4th World styles in the grandest style.
It may not contain anything quite so immediate as, say, Kenji Kawai’s OST for Ghost In The Shell, but it’s a different thing really, with a different story to tell, and it does so beautifully.
Hard techno pioneers Teste present first new material in 25 years. Trust they aren’t fxxking about!
Forged especially for Phase Fatale’s BITE label, The Box Man finds Dave Foster (Huren) joined by Frankfurt electro/techno/industrial fiend Martin Maischein under the notorious Teste banner for five stripes of the dark and strong stuff.
More than a quarter century since The Wipe claimed its place in techno’s hall of fame, Teste riff and expand upon the original project in faithful, updated, and surprising ways upon their return to the fray.
A-side plays into their classic style with concrete clad kick drums booming down the long dark tunnel of The Box Man to a black hole breakdown of collapsing subs and astringent noise, while The Long Term Care Facility ratchets the pressure with fanged 16th note synth attacks.
On the B-side, they follow their nose into bleeping dark techno on Thieves Are Operating In This Area, and the dry-humping blast of Foaming At The Mouth, saving the brittle beauty of Lyubov to really catch everyone off guard.
Massive, mutant dancehall album from Miss Red and Kevin Martin a.k.a. The Bug, launched as the first LP on the latter’s Pressure label following the Flame1 project featuring Burial.
Taking what he needs from ‘90s digi dancehall and the environmental atmospheres collected on his travels, The Bug furnishes Miss Red with a concrète-cracked batch of riddims that neatly juxtapose her float-like-a-butterfly, sting-like-a-bee bars.
For the biggest excitement check out their hammering fast chat killer Money Machine, the ruddy acidic wine of Big, and the bashy swag of Slay, but it’s definitely best consumed hot in one sitting, where the textures and space of The Bug’s fiercely unique, biting point production can really take a hold.