It’s been over a decade since Half Film split. The San Francisco trio released two LPs during their short run – 1998’s East of Monument and its 2000 follow-up, The Road to the Crater, both of which were  re-released by Hidden Shoal Recordings late last year.

The three have since scattered across the world – Jason hovered around California and now resides in Berkeley where he’s working on a new record for his sort-of-solo project Mist and Mast. In 2002, Conor and Eimer joined with members of Swell to form [the] caseworker (whose Letters from the Coast is also available through Hidden Shoal) before going on an extended in hiatus in 2006. Conor moved to South Africa and now lives in Switzerland; Eimer left for Ireland but is back in Northern California. Along with the rest of [the] caseworker, they’ve spent the last few years demoing a third record by e-mail which they hope to complete in April. Over the last month I corresponded with Jason, Eimer and Conor about Half Film, San Francisco and the ills of the music industry.

“We never felt [our records] got properly released for reasons I won’t go into,” Jason tells me over e-mail. I probe for a few days but it seems the frustrations are too deep to dig up. Eimer offers the same sentiment: “Just reading some of the references to old acquaintances gives me a stomach ulcer.” Conor opts not to name names, but chalks his discontent up to “a bottomless well of incompetence,” – label mismanagement, perennially intoxicated distributors and plain bad luck.

Half Film – ‘Coated’

Yet the resonance of the music over-powers any lingering angst over the machinations of a bloated industry. How could it not? Every track on East of Monument is catchy in the strangest possible way – almost anti-catchy. The songs embed themselves into that strange part of your brain that’s active when you’re halfway between sleep and wakefulness.

“I have very good memories of writing the songs, the rehearsals, hanging out,” Conor says. “But as others will tell you, I find having to listen to the records very traumatic. I feel they were never as good as what we (or maybe just I) heard in our heads, and there’s a gap between what you want to do and what you’re capable of.  And when I hear the records, I’m hearing that gap and I assume everyone else hears it too. Having said that, when I had to hear the songs again recently to make sure the re-mastering went to plan, I could still hear very clearly what we were trying to express at the time, and I thought it was an honest expression of who and what we were at the time. We weren’t faking anything. ”

Eimer puts it another way: “I commute over the Golden Gate bridge a few times a week and since listening to the Half Film records again, as my bus approaches the bridge in the evening in my head I hear Con and Jay singing Hang and it gets me in the gut every time. I think that song means the most to me of any Half Film song.” Listening to Hang, it’s easy to get that same sense of despairing endless space; as the closing track on East of Monument, it carries the heart-breaking weight of an elegy to a something precious long since lost.

Half Film – ‘Machines, Hawks And The Perfect Equation’

“Listening to the old Half Film discs – especially East of Monument – gives me a sense of nostalgia I don’t get from recordings of any of my other bands throughout the years,” says Jason. “I listen to ‘Coated’ and I get visions of the patterns on the walls of a club we played, the smell of a bar we hung out in.

“Another thing about that time – there were a lot of little scenes, but we weren’t a part of any of them. I know that’s what everyone says, but it’s true. Other band’s members had played in each others bands for years. We were content along the sidelines, going to practice, then the bar (sometimes just the bar), then back to Conor and Eimer’s to listen to the day’s record store finds.”

Conor concurs. “We were definitely not a part of the scene; it felt natural to stay away. It still does,” he says. “San Francisco feels like a long way in the past now, but it’s great to look back and to have had such a unique experience while I was there. The memories are in the records.”

East of Monument and The Road to the Crater are available now from the HSR Store as a special double CD package and individually in digital formats.

by Matt Tomich.

“Lounge, muzak, exotica, library, Brazilian and everything else on the fringes, ‘Please Hold The Elevator’ takes an hour to delve into the music that so many consider “background,” revealing craft, emotion, and beauty where it was thought inconceivable.”

Fans of Rich’s solo work will be able to swim through a sea of influences and inspirations, many of which directly infuse his debut mini-album Music For Underwater Supermarkets and can also be found nudging his other work, including the forthcoming sophomore Monocle album. Monocle’s forthcoming Transpacific Sound Paradise (co-produced and engineered by Scott Solter) hits the ground May 2013.

Stream the podcast below and head over to MixCloud to subscribe and find out more.

How did Will The Soft Curse Plague On? come about?

All of the writing was documented originally on a four track tape machine capturing the structure, guitars and vocals. Then I would recreate the songs using a music program to expound on beats, and instrument possibilities. Proofs of the mix tape tracks and the digital song versions would be studied by the rest of Wizards. We would rehearse, and pull apart each song learning our roles and improvising on top of the structure.

It was a massive growing point for all of us at that time. Jon Blair (percussion) was a guitarist in previous groups he had played in, but he learned to play drums for this project in and out of rehearsals. Jon and I would sit with each other in my apartment and work on learning the beats on kit. Wizards ended up recording a final pre-production as a full band with a friend named Jacob Raymo. This third version was used for furthering our understanding in what needed to be worked on as a band.

What was the process of making the record?

Having admired the work of Scott Solter. I thought it would be best to have him as a lead role in production of the album. We tracked all of the music in three weeks at his old studio on Baucom road in Monroe North Carolina. During that time we started understanding with the guidance of Scott what needed to be committed to tape. Wendy Allen of Boxharp appears vocally on Chief of Sinners adding as a beautiful lift at the end of the track.

One of the many processes in tracking was Scott tuning the drums to the resolve of each song. We also built different drum kits, and percussion stations for tracking. We had almost limitless sound options available at Baucom. Mike Porter and I flew back and forth over time to finish vocals, as well as be a part of the mastering process. Mixing was done using email, and on the phone with Scott. Going into the process it was understood on both sides that Scott had artistic freedom to alter the sound and design on the all of the tracks.

Mixing was done using email and having conversations on the phone with Scott about vision, and options. Going into the mixing process it was understood on both sides that Scott would have artistic freedom to altar, and design the sonic layout. Mike Porter, and I recorded the Plagues on a four track at the Dressing Room in Phoenix. We used a Casio key board, Drums, different delays, and guitar.

You’ve included six interludes which you’ve called ‘Plagues’ – why did you feel the need to separate songs with those interludes, and why call them Plagues?

The Plagues are small breaks from story line (unstable montages). It is the warning, growth, and ease towards an inevitable outcome which would be “The End”.

Given that level of complication in the mix, what have been the challenges in translating those sounds into a live context?

Wizards in the present has come down to me performing the songs solo using percussive loops that I create with my guitar. Once in awhile I will perform with the full band when we are able to, which can range from a 3 to 4 piece. To touch on the most obvious challenge would be the arranged and layered percussion. Lots of groups, including Wizards, play auxiliary percussion live, but it ultimately it doesn’t sound quite the same.

This definitely isn’t a minimalist record – every second is crammed full of textures, subtle motifs and intricate layers. What was it like trying to negotiate all these elements in the writing, recording and mixing processes?

It was eye opening, as well as a huge learning curve. Finding an understanding in sound with Scott Solter was needed for this project since I’ve personally looked up to his work for many years now. Communication and dialogue are key to execute any vision, whether that be from lyric to landscape. I personally love listening to music that reveals something that I have not heard from previous listens. It is like looking at a painting full of characters with color, and finding situations that not only stand out but make you seek.

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Check out a few choice cuts from Will The Soft Curse Plague On? below and head to the Hidden Shoal Store to stream the album in full and purchase it in digital and CD formats. Andrew is currently preparing for a run of shows in Mexico in December and France early next year.

Wizards of Time – ‘Benjamin’

Wizards of Time – ‘Little’s Jingle’

Wizards of Time – ‘Hi My Name Is Body’

Enjoy the mix, read Markus’s liner notes below and don’t forget to check out  On and Mehr’s previous albums In and Lava over at the Hidden Shoal Store.

1. B-52s – 52 Girls

This track is from the yellow album – one of my few desert island discs.

2. Ryuichi Sakamoto – Nostalgia

I overlooked this one at first, but it’s a grower.

3. Stephan Mathieu – Hidden Name

A very reeellaaaxed track, like Stephan himself. Nice guy, brilliant artist.

4. Beach Boys – Pet Sounds

I´m the proud owner of all the Beach Boys albums on vinyl! I would consider myself a fan…

5. Taylor Deupree – Worn

Super track, never seen this guy live – have to.

6. Dean Taylor – Fire And Rain

Oh, how I love 70s American crooner shit. This one is very touching.

7. Aki Omnda – Dance

Didn’t know this guy, but a friend gave me a tape with this one on. The fact I’ve put this one on this mixtape is sign of how much I like it.

8. Deaf Center – New Beginning

I also discovered this very late. ‚New Beginning’ is from the album Owl Splinters – I highly recommend this CD for lovers of music with a darker feel.

9. Gerald Fiebig –  6:39 Über Halberstadt

A fellow from my hometown. We will perform together soon.

10. Four Tet – Jupiter

A mixtape without this track is not a mixtape!

11. Hatchback – White Diamond

I first heard this track in a record store in New York, asked the owner of the shop what it was, and bought it.

12. Space – Magic Fly

I´m a bit addicted to good disco shit of the 70s too. This is one of my all-time favourites

13. Oneohtrix Point Never – Returnal

Crazy stuff.

14. Tom Hessler – Glass Kreisel

One of my closest friends, so I´m biased. He’s actually quite a popular songwriter with really good German lyrics. ‚Glass Kreisel’ shows his passion for the dance terrain.

15. Nilsson – One

When it comes down to songcraft, this is one of the best songs ever written.

16. Philip Jeck & Janek Schaefer – Song for Europe

Two heroes of mine.

17. Danijel Zambo – Im Verschneiten Walde

Again, a buddy from my hometown –check him out! This guy is a genius.

18. Aun – Protection

You’ve got to see him on stage. This is killer.

19. Ben Frost – Killshot

The title says it all! The whole album blew me away.

20. Pioneers of HiFi – Zeitforscher

A project of mine… Forgive my indulgence!

21. Andy Williams – Too Late

As I said before, I´m really into this crooner stuff. Andy Williams was the King of Mount Schmaltz.

22. Chant Des Derwishes De Turquie – Unknown

Bought this record in a weird record store out of curiosity. Musically we´ve got something in common.

23. Philip Jeck – Pilot Dark Blue Night

My hero.

24. Jerome Faria – Untitled

Very interesting stuff. I only know this one track, but I will check out more.

25. Yellow Magic Orchestra – Castalia

Huge fan – nothing more to say.

26. Nils Frahm – Peter

The show pony of Erased Tapes – for good reason. I love his approach to classical music.

27.  KTL – Wicked Way 

The goods when it comes to drone music.

28. DJ Shadow  – Six Days

It closes how it began, with the genius touch of Miles Davis. Good party stuff.

Markus Mehr: Although I work with you, Stefanie, I’m not physically with you when you start to collect material and ideas to generate the visuals for our collaboration. Please tell us more about this process and your approach on my piece ‘Transit’ (featured in part three of the trilogy, Off, to be released in January 2013)?

Stefanie Sixt: Well, the process is always dependent upon the subject and the sound. In the case of ‘Transit’, it all started with research about life, death and the question of a spiritual life after. Posing a thousand philosophical questions and reaching almost no answers, I had to make a decision about how to visualise an abstract field.

During my walks in nature with my dog, Sanzcha, I started taking fuzzy black-and-white photographs of light reflections. I’m using animation to create new worlds out of the footage, which in most cases aren’t reminiscent of the original shots at all. Turning the world upside down – that’s fun! Not everything is what it seems to be. We are just some narrow-minded humans, trying to understand a bit more of the world. Speaking of understanding, how did you get the idea to create a 50-minute piece comprising one repetitive mantra? Didn’t you worry that it would bore an audience to death?

MM: ‘Transit’ actually comprises two different themes, so the piece has an A/B/A/B/A structure. By the time we were talking about collaborating on a new performance, I was working on a piece of music that would later become the B section of the composition. This particular part perfectly fitted what we’d been talking about in terms of theme. It’s the harmonic, bright and friendly part of the track. It loops around itself very slowly. I call it an electronic canon! Cyclical sounds or patterns are something you can find in almost all of my music, especially In, On and Off.

SS: What prompted you to use your toothbrush to create sound?

MM: A sense of fun and curiosity! I’m still fascinated by people like Keith Rowe, for example. He experimented with using things on the guitar; I tried something on my own. Devices like shavers or ventilators held over a guitar’s pick-up can do some really interesting things and create nice noises. Combining these two patterns turned out to be my inspiration on ‘Transit’. However, in comparison to ‘Komo’ (from In) or ‘Synchron’, the work on the live version of ‘Transit’ was a much closer collaboration between the two of us.

SS: On our first project, ‘Cousteau’ (from Lava), we worked pretty much on our own until we got on stage.

Now we’re influencing each other while we’re creating the piece and rehearsing the performance. It’s much more complex, I would say. In your opinion, what do the visuals add that music can’t express?

MM: For our live performances, the visuals are very, very important. It opens up new dimensions, intensifying and deepening the viewer’s emotional response. Our work together is really falling into place. Not all visual work fits my music – and vice versa. However, when it comes to listening to my albums, the music has to stand on its own. My approach is to offer a package of sound, sometimes brutal and distorted, sometimes moody, melancholic and relaxed, when we play live. But following up on my first question, the visuals on ‘Transit’ have a very clear, almost technocratic appeal, but without being cold.

SS: Maybe it’s due to the origin of the visuals – it’s all organic. Within the process, the technocratic aspect is added. In the end, this might evoke the emotions people tell us about. Your sound compositions are similar, aren’t they? Even though your sounds sometimes build up into pure noise, there’s always enough melodic space to sink into. That’s why I’m into your music.

MM: Very often the starting point is a musical phrase I found somewhere. Most of the time a harmony or melody attracts my attention. Once I’m attracted by a phrase I start to play around with it and see if the idea for a piece emerges. A lot of the time I do reject things because nothing comes up at all. But when an idea starts to work, the excitement builds. Arranging, distorting and playing around with the fragments is a very satisfying part of the process. It becomes easy, once you have a vision. I hope people will like it.

SS: I’m convinced they will. Your music is like a dialogue, an inner journey. It’s awesome to add my visuals to your music, taking the audience even further on this audiovisual trip.

Markus Mehr’s new album In is available now in limited edition CD and digital formats from the Hidden Shoal Store. We are also offering a CD copy of Markus Mehr’s Lava for one lucky winner. All we require is for you to tell us the name of the 2nd track on Mehr’s latest release In. Send your answer to contact[at]hiddenshoal.com with “Markus Mehr Competition” in the subject line. You’ve got until April 21st, 2012.

Hidden Shoal’s Cam Merton recently dropped five questions on Scott.

CM: How did One River come about? Your previous release under your own name, The Brief Light (Manifold Records, 2003), was markedly different in its pallet and aesthetic.

SS: The pieces began as improvisations with guitar and tape loops. There was no agenda at first. The Brief Light, on the other hand, was music that grew out of teaching myself how to record audio. I had collected a number of instruments over the years that I was too lazy to practice, but when I got the itch to learn record making I pulled out everything and started banging away.

CM: There is a level of compositional complexity at play in One River that may not be immediately apparent depending on your listening mode. Can you talk about this and perhaps expand on your compositional process for One River?

SS: Compositionally it was impulsive and improvised in its technique. I was looking at various images of water and wondered what sort of music they would make. Simple idea. Technically speaking I would build a melody slowly and continue adding harmony until it felt musical. From there it was about how shallow or deep, calm or volatile to take it. After each piece was constructed I’d look for more undercurrents using various tape machine playback speeds. Eventually all the machines were set in motion and mixed live.

CM: I believe that works such as One River require a special mode of listening to fully appreciate. Do you think that it’s important for music to ask something of the listener?

SS: Maybe the proper mode is really just giving space and time for listening. Hopefully the work is compelling enough to firstly draw someone’s attention. I do like a certain open landscape or emotional neutrality to exist in the music so as to offer a listener the chance to plug in their own narratives.

CM: You’ve produced, mixed, engineered for indie (I apologise for the term) artists like Mountain Goats, John Vanderslice, Superchunk, Pattern is Movement and Erik Friedlander to name but a few. What, if anything, do you take from this work into your solo work and also your work with Boxharp? Inversely what do your bring from your own work into these sessions?

SS: The methods of approach are always a work in progress. I like to bring as much of my sensibility to the event as I can but it depends on the variables of the project. On the surface, a lot of these records sound drastically different in tone. Some of them have allowed me to build from the ground up, giving me a great deal of creative license. Others have very limited schedules or resources, requiring me to hit the ground running. Maybe there’s a connection between them that sits deeper. I’m not sure. However, as I move forward in my work I do feel that certain methods have begun to thread themselves through all of the projects.

CM: What’s next for you in solo mode and also for Boxharp?

SS: Several records in the works… Grant Miller and I are close to finishing a new Balustrade Ensemble record that should be ready in soon. There’s also a collection of dark dubs I’m putting together with Rohner Segnitz that I’d like to see released. Boxharp has a great deal of material assembled and recorded that should result in a full length and some singles. There’s also a follow up to One River that should be finished in a few months.

I guess that’s it for now, thanks :^D

“Twins and Wives: a film for One River” by Mark Solter and Laura Solter (DVD release coming early 2012)

Continuing in our love of all things Salli Lunn we’re also giving away a CD copy of Heresy and Rite. All you have to do is send an email to contact [at] hiddenshoal.com with “Salli Lunn Giveaway” in the subject line. We’ll draw a winner at the end of January.

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Note: Stream the album in full at the bottom of this post

#1 The Frame of Reference

SL: Though all of us come from different musical outlooks and take in different inspirations, we’ve always had the common interest in exploring rhythms as the musical takeoff. Right before we started the recordings this song wasn’t finished and it was therefore close to not making the final cut. The whole track basicly came together from the same rhythmic patterns and the moods it spawned. In the eleventh hour we luckily found the right balance between the repetitious structures and atmospheric arrangement and the outcome remains a favourite today.

JM: Probably not the easiest track to get into on the album. It was still very open when we started recording so it basically came together in the process of recording and mixing. I think it’s an interesting mix with the mood of the song being kinda cold and dark and the layers of drums and percussion having an ethnic, exotic kinda vibe. The band let me play around with the last instrumental part while mixing – very unusual for me to do something that noisy, but somehow this track demanded to be taken all out.

#2 Parachutes Forever

SL: The oldest song of the record and at the same time it’s most immediate pophook. It was written after a concert with Speaker Bite Me – an earlier Danish bandfavorite and source of inspiration back in the days. Their respective mixtures of noise and minimalistic pop-melodies left a certain, though not that obvious, mark on the composition. Jonas did very well in picking up the shoegazy tendencies and pulling them out of the cupboard both here and throughout the album.

JM: This song is so well put together. The instrumental part in the middle of the track is amazing. We wanted an atmospheric, shoegazy feel for this one while still emphasizing the punch and heaviness of the rhythm section. Generally we wanted a very natural sound for the album but still with a lot of layers and details in the mix, and I think this track is a good example of how nicely it worked out. It has the raw vibe of four people playing together in a room, but here and there some dubby echoes creep out of the soundscape. There are also synths and lots of guitar-overdubs in the mix but they weaved into the original framework very discretely and add a certain depth to it.

#3 The Invention of Steel

SL: Another track centered around repetitious patterns, but at the same time undergoing subtle musical developments creating these slowly building crescendos, which Jonas’ production really helped in shaping. The “intervening” parts separating the verse structures together with the noise sections are probably one way of enticing people to reference post rock when reviewing our music, but we’ve never really been trying to inhabit this set of musical idioms. For us it’s always just been about experimenting with the juxtaposition of different musical moods and movements.

JM: I love the guitars in this track – there’s a very nice interplay between what Lasse is doing in the right side of the stereofield and what Christian is doing in the left.

#4 Fast Cars, Clean Bodies

SL: In a hotchpotch of lyrical references this is the one proper love song of the album laid in a rewritten poem by William Carlos Williams. The film noir-narrative stages the progress of a relationship as a walk one late night. Compositionally, it is ironically also the heaviest track on the album with both postpunk- and stonerrock-aspirations, which in conclusion unites in a long descending spiral. Again Jonas did an amazing job producing and really brought out the sheer frightening cold of psychological mechanisms at play in the human spirit here.

JM: This is the first track I fell in love with back when they sent me some recordings from their rehearsals. I was definitely attracted to the Slint-like feel of it and wanted to maintain that aspect of the track in the album version. But where Slint’s guitars usually sounded very sharp and thin, we wanted the peaks in this track to sound earthy and heavy. I love Jan’s bassplaying – he has a style that reminds me a lot early/mid 1990s Chicago/Washington post-hardcore bands such as Jawbox, Unwound and Unsane. Very few people play bass like that anymore. I ran Lasse’s vocals through a small Fender amp to get that creepy lo-fi vocal sound.

#5 Mirror Girl

SL: Paradoxically this is a track that demanded us to play really tight but still letting go and play loose at the same time. Musically the song origins in a fascination of the French composer Olivier Messian’s use of, amongst others, octatonic scales coupled with the early noiserock of Blonde Redhead and 70s King Crimson.

JM: I think this track was the hardest one to nail. It has a super complex structure and it was tough getting each part right as well as keeping a logical continuity overall. The track has that wonderful 1990s northern US-vibe like the rest of the album but there’s also a prog-rock feel to it. The band references King Crimson but I would go all the way and say it sounds a bit like an indie-version of Tool. We used a Leslie/rotating speaker-effect on the vocals in the breakdown section, which works marvellously. To be perfectly honest, I got that idea from Korn’s 1999 hit “Freak on a Leash” – a guilty pleasure of mine.

#6 Belongings

SL: Belongings represents some of the more eerie and insidious sides of our songwriting placed in a short and compact format. Helping to bring out both the sinister and the pop-elements of the track was the coupling of both Lasse and Line’s vocals, which we hadn’t really tried before. This was also a tricky one to record because of all the skewed rhythmical shifts and we ended up using a take that featured an unintentional but really well-functioning transition near the ending.

#7 Birthmark

SL: Probably the song with the most obvious Unwound-inspiration and at the same time the most uncompromising song among the bunch featuring propulsive drumming in 5/8, atonal guitar patterns, clusterchords and Lasse’s frenetic over-the-top screams. The ending is a favorite moment on the record; the sudden and very unnatural sounding complete silence came up coincidentally, but somehow it fits the intense and psychologically surreal mood of the song perfectly.

JM: This is probably the track where the post-hardcore influence is most apparent. I love the guitars in the outro – again I’m reminded of Jawbox. And Line plays some awesome drums. Great track.

#8 The First Cause

SL: With The First Cause we set out to merge swirling soundscapes with ongoing, almost floating rhythms and distinct melodies in the midst of it all. Taking place in this setting of speed, the song evolves around the relationship to the past and the journey as rite. With the ending reaching a near-transcending effect it seemed very appropriate to let the song be the final statement on the album.

JM: This track has a wonderful motoric groove from start to finish and the band manages to weave all the aspects of their sound into one homogenous piece. Again, there’s a lot of different sounds in this track, but it doesn’t sound too artificial or polished. It still sounds raw and natural even though there’s a lot going on in the soundscape all the time.

Also be sure to keep your eyes and ears out for some previously un-released Slow Dancing Society tracks we’re releasing very soon!

1. “CONTAGION” (Original Motion Picture Soundtrack) by Cliff Martinez

I cannot say enough about this release. I’ve been a huge fan of Cliff Martinez for years. Every score he does has a common thread that runs through them, but all are extremely unique.

This one in particular is a bit of a departure from his typical tonal/washy sound. Its heavily weighted in vintage synth sounds and has a very rhythmical quality, almost techy in parts. It sounds like a modern Blade Runner Sountrack.

2. “ACHTUNG BABY” (20th anniversary edition) by U2

Still can’t believe this album came out 20 years ago. It sounds so amazing and still fresh today. The 20th anniversary edition comes in a few forms. Deluxe, Super Deluxe and Uber Deluxe. Being the huge fan that I am, I got the Uber Deluxe edition and it comes with EVERYTHING. All of the original 7″ singles, hard back photo album, various DVD concerts and docs…oh and a pair of Bono’s famous FLY sunglasses…and that’s just the tip of the iceberg.

3. “RELAYTED” by Gayngs

I discovered this band by happenstance on YouTube and I was blown away. They’re a mixture of funk, soul, and yacht-rock. Yes, yacht rock. You know, stuff like Christopher Cross, Phil Collins, Paul Young, Michael McDonald.

Believe it or not, it’s incredible fresh and familiar at the same time. It’s a very trippy sounding record as well with the subtle psychedelic-funk under-tones.

4. “THE EUROPEAN” by Kramies

I absolutely love this guy. Amazing melodies and well crafted tunes on this fine little EP.

Right away I heard influences from an old favorite of mine that I didn’t think anybody knew about…Tommy Keene. Power-Pop mixed with heartbreaking acoustic-crafted songs.

Don’t sleep on this one!

5. “CRY” by Creme & Godley.

Not an album, but an old gem that I came across recently and haven’t been able to stop playing it. Such a great tune. Check out the video on YouTube for a ‘way ahead of its time’ video.

Also, the pick above by GAYNGS, does an amazing cover of this song too.