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Featuring an all-star line-up including Tribe alumni Marcus Belgrave \u0026amp; Duke Billingslea.\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWendell Harrison\u003c\/strong\u003e was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. 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Continuing some of the ideas explored on the \u003cem\u003eDifficult Messages\u003c\/em\u003e record of collaborations, the result is a surreal dreamscape of disorienting sound collages, where hit songs are transformed into terrariums of sonic flora and decimated fauna. As if pulled from a fever dream, the surrealists of the 1960s converge with alien electronic blues musicians in an underworld of mystery. The air is thick with car wash radio white noise, crackling and fizzing like a toxic elixir, spoken word poetry transmissions as absurd and cryptic phrases. Each corroded aural environment is a microcosm of chaos, honed to razor-sharp precision. Swept away in a whirlwind of thirteen perplexing narratives, each one an unpredictable journey through subterranean worlds, a sonic trip of reality folded into itself.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Car Wash Two w\/ Short Hands\u003cbr\u003e2. Radio Box (excerpt)\u003cbr\u003e3. Plus Warning\u003cbr\u003e4. Engaged Withdrawal\u003cbr\u003e5. Exploding Time\u003cbr\u003e6. My Whole Life\u003cbr\u003e7. The Museums We Carry\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e1. Pointerstare\u003cbr\u003e2. Comforts of The Mind\u003cbr\u003e3. In Society\u003cbr\u003e4. Find You (Vocal)\u003cbr\u003e5. Days Decay\u003cbr\u003e6. 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He took record buying trips to New York to find second-hand disco, house and techno 12”s, which were lying around in bargain bins. The selection for this compilation are his own personal favourites from that era. Back then, electronic dance music was young, innocent and fun; it hadn’t been analysed, theorised and fragmented into the multi-genre industry it is today\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhat you hear on this compilation reflects what he was playing at that time; joining the dots between ambient, techno, tribal house, breakbeat and early trance productions from the UK. 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Over the course of Allen's recording career, he defined the Afrobeat sound, meshing Funk \u0026amp; Jazz influences with Nigerian Highlife to create a cross-cultural dialogue that has gone global. It was no small honor to welcome Mr. Allen for a very special recording session at Linear Labs Studio, and we could not be more thrilled to share these crucial and downright funky cuts with you.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn album opener \"\u003cem\u003eEbun\u003c\/em\u003e\", guitars and horns build off of Allen's instantly recognizable drum patterns, stretching and warping time signatures as they cross paths. It instantly recalls the seminal Africa 70 recordings which Allen was a driving force on. Psychedelic keyboards and percussion clash on \"\u003cem\u003eSteady Tremble\u003c\/em\u003e\", a heavy stomper tailor-made for dancefloors in every corner of the world. Just as funky is the kinetic and expressive \"\u003cem\u003eOladipo\u003c\/em\u003e\". Built between a tense call and response between the horns, the track is filled with drama, and Allen steadily keeps each element in balance. As soon as the flute struts in alongside fiery horns and guitar on \"\u003cem\u003eDon't Believe the Dancers\u003c\/em\u003e\", the groove plunges further, propelled by an acerbic saxophone solo that animates Allen's percussion. \"\u003cem\u003eMakoko\u003c\/em\u003e\" is a moody, mid-tempo jam that evokes classic Fela Kuti recordings such as \"\u003cem\u003eOpen \u0026amp; Close\u003c\/em\u003e\" and \"\u003cem\u003eGentleman\u003c\/em\u003e\", slowly constructing an elaborate orchestra of polyrhythm, all keeping step with Allen's rhythm. \"\u003cem\u003eLagos\u003c\/em\u003e\" points towards the spiritual and literal home of Allen and Afrobeat, the capital of Nigeria, and homes in on a yearning keyboard.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eSimilar to on his excellent Art Blakey tribute record, Tony Allen is a revelatory jazz drummer, as heard on \"\u003cem\u003eNo Beginning\u003c\/em\u003e\", a mid-tempo tune that sits at the nexus of Spiritual Jazz and Afrobeat, which perfectly transitions into album closer, the aptly titled \"\u003cem\u003eNo End\u003c\/em\u003e\", a poignant number that combines all of the passion and precision of the previous tracks, and let's Allen guide listeners yet again as only he so effortlessly could.\u003cbr data-mce-fragment=\"1\"\u003eDespite the finite time that Allen had on this planet, as do all of us, his contributions to music are timeless and untouchable, and will continue to inform and inspire generations to come. 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Over the course of Allen's recording career, he defined the Afrobeat sound, meshing Funk \u0026amp; Jazz influences with Nigerian Highlife to create a cross-cultural dialogue that has gone global. It was no small honor to welcome Mr. Allen for a very special recording session at Linear Labs Studio, and we could not be more thrilled to share these crucial and downright funky cuts with you.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn album opener \"\u003cem\u003eEbun\u003c\/em\u003e\", guitars and horns build off of Allen's instantly recognizable drum patterns, stretching and warping time signatures as they cross paths. It instantly recalls the seminal Africa 70 recordings which Allen was a driving force on. Psychedelic keyboards and percussion clash on \"\u003cem\u003eSteady Tremble\u003c\/em\u003e\", a heavy stomper tailor-made for dancefloors in every corner of the world. Just as funky is the kinetic and expressive \"\u003cem\u003eOladipo\u003c\/em\u003e\". Built between a tense call and response between the horns, the track is filled with drama, and Allen steadily keeps each element in balance. As soon as the flute struts in alongside fiery horns and guitar on \"\u003cem\u003eDon't Believe the Dancers\u003c\/em\u003e\", the groove plunges further, propelled by an acerbic saxophone solo that animates Allen's percussion. \"\u003cem\u003eMakoko\u003c\/em\u003e\" is a moody, mid-tempo jam that evokes classic Fela Kuti recordings such as \"\u003cem\u003eOpen \u0026amp; Close\u003c\/em\u003e\" and \"\u003cem\u003eGentleman\u003c\/em\u003e\", slowly constructing an elaborate orchestra of polyrhythm, all keeping step with Allen's rhythm. \"\u003cem\u003eLagos\u003c\/em\u003e\" points towards the spiritual and literal home of Allen and Afrobeat, the capital of Nigeria, and homes in on a yearning keyboard.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eSimilar to on his excellent Art Blakey tribute record, Tony Allen is a revelatory jazz drummer, as heard on \"\u003cem\u003eNo Beginning\u003c\/em\u003e\", a mid-tempo tune that sits at the nexus of Spiritual Jazz and Afrobeat, which perfectly transitions into album closer, the aptly titled \"\u003cem\u003eNo End\u003c\/em\u003e\", a poignant number that combines all of the passion and precision of the previous tracks, and let's Allen guide listeners yet again as only he so effortlessly could.\u003cbr data-mce-fragment=\"1\"\u003eDespite the finite time that Allen had on this planet, as do all of us, his contributions to music are timeless and untouchable, and will continue to inform and inspire generations to come. 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Repress of This Is The Kit's debut album, to coincide with the release of their new album \"\u003cem\u003eCareful of your Keepers\u003c\/em\u003e\".\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis Is Kit\u003c\/strong\u003e is the project of Winchester-raised, Paris-based \u003cstrong\u003eKate Stables\u003c\/strong\u003e. Originally released in 2007 on French label \u003cstrong\u003eMicrobe\u003c\/strong\u003e and now reissued on the band's own \u003cstrong\u003eDisco-ordination\u003c\/strong\u003e imprint, this was This Is The Kit's debut album. 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The compilation includes legends of the Lounge and Exotica scene, such as \u003cstrong\u003eMartin Denny\u003c\/strong\u003e, \u003cstrong\u003eYma Sumac\u003c\/strong\u003e, \u003cstrong\u003eMel Tormé\u003c\/strong\u003e, \u003cstrong\u003eHerb Alpert\u003c\/strong\u003e, and \u003cstrong\u003eLes Baxter\u003c\/strong\u003e, alongside legendary composers \u003cstrong\u003eHugo Montenegro\u003c\/strong\u003e, \u003cstrong\u003eLalo Schifrin\u003c\/strong\u003e, \u003cstrong\u003eMichael Giacchino\u003c\/strong\u003e. Add some Lounge Jazz from \u003cstrong\u003eCal Tjader\u003c\/strong\u003e and the Latin Bossa Nova of \u003cstrong\u003eQuincy Jones\u003c\/strong\u003e. Then throw in some beautiful oddities from \u003cstrong\u003eLeonard Nimoy\u003c\/strong\u003e, \u003cstrong\u003ePizzicato Five\u003c\/strong\u003e and \u003cstrong\u003eMort Garson\u003c\/strong\u003e. Next, mix in some Lounge-Mod moments from \u003cstrong\u003eDave Pike\u003c\/strong\u003e and \u003cstrong\u003eJack Trombey\u003c\/strong\u003e, KPM library classics from \u003cstrong\u003eAlan Hawkshaw\u003c\/strong\u003e and \u003cstrong\u003eKeith Mansfield\u003c\/strong\u003e, and finish with some brilliant modern-day exponents of the Exotica sound \u003cstrong\u003eLos Bitchos\u003c\/strong\u003e, \u003cstrong\u003eIxtaheule\u003c\/strong\u003e and the Percussive Funk Moog party sounds of \u003cstrong\u003eThe Bongolian\u003c\/strong\u003e. The result is a fun and crazy ride through the world of Lounge Music which will bring a smile to your face and a spring to your step. 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Released on June 9th, the CD set includes all 5 of the studio albums in a side loading box.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAll albums feature the classic line up of \u003cstrong\u003eStephen Pearcy\u003c\/strong\u003e (vocals), \u003cstrong\u003eWarren DeMartini\u003c\/strong\u003e (guitars), \u003cstrong\u003eRobbin Crosby\u003c\/strong\u003e (guitars), \u003cstrong\u003eJuan Croucier\u003c\/strong\u003e (bass), and \u003cstrong\u003eBobby Blotzer\u003c\/strong\u003e (drums).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFormed in Los Angeles, RATT exploded on to the national scene in 1984 with the release of \u003cem\u003eOut Of The Cellar\u003c\/em\u003e. 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