Best Of 2015 - Albums & Mixtapes & ....

Reflekzionz/Enttropik EP - Ekoplekz
Another great LP from Nick Edwards and the EP has two of his best tunes ever. He's on a hell of a roll and is quite possibly the best living electronic artist on the planet.

Lost Themes - John Carpenter
Carpenter knocks his clones out of the park with this classic epic slab of prog-horror. He just does what he does and that's the beauty of this album.

Playclothes From Faraway Places/Why Does My House Make Creaking Moises? - Moon Wiring Club
MWC are still intriguing, captivating and delightful after 10 years. This is his best since Today Bread, Tomorrow Secrets and that's saying something as that's probably his 2nd best work. So this could end up at 1 or 3. This conjures images of ye olde English spectres breakdancing in dank haunted houses. Like Stereolab before him he makes writing about his music pointless as the song titles say it all 'Hide & Ghost Seek' 'Cobwebby Whodunit' 'Chic Exorcist' 'The Hushening' 'Haywire Assistants' 'Timeless Tea Gowns' etc. What is all that whispering about?

Barter 6/Slime Season - Young Thug
How the fuck does he keep it up? Two great releases from rap's weirdest tripper with the most original flow in hip-hop's history? Me like a very lot.

Nightvision - Mark Van Hoen
Mark continues on his merry way outside of trends and makes a little gem of an electronic LP in the process. Did anyone even notice?

Thrilla - Boosie Badazz
Ignore his stupid name change, he's still Lil Boosie to me but as he says he's a 'bad ass mother fucker.' He sounds like a real slime ball with the most menacing swagga in the game. When he gets in a maniacal zone it's as intensely infectious as prime Iggy Pop. Why isn't he as big as Kanye?

Rudeboyz EP - Rudeboyz
Mesmerising tumbling rhythms that bounce around amongst gloomy minimalism.

DS2 - Future
What a year Future's had, especially when you consider his inconsistent previous year. This album is just the tip of the iceberg of his 2015. This is his unapologetic paean to nihilistic hedonism and something tells me this all ain't gonna end well...

EVENIFUDONTBELIEVE - Rustie
Rustie makes a fine return to form and sets us adrift on memory bliss. It's so hard to resist this cheesy, cheap and cheerful noise.

Rich Off Mackin - RJ & Choice
Everyone wanted to write off DJ Mustard in 2015 (including my barber) but Rich Off Mackin can't be denied. This is gold and really feels like a true collaboration between RJ, Choice and Dijon. It's party time, people!

Houston 3AM - Beatking
Beatking continues to kill everything he does and Houston 3AM is up there with his best LPs/Mixtapes. The King is the most un-PC rapper in the game. Bret Easton Ellis needs to do a podcast with this guy!

Safe - Visionist
Everything about this on surface value make me wanna be sick ie. the cover, the artist's name, the song titles etc....omg I want to punch this C*** in the face. So it's with great disappointment then that I have to announce this music is good stuff: Minimal, thin & empty with occasional flourishes into neon lit sound. Hauntological Grime, anyone?

OTHERS I ALSO LIKED
Slime Season 2 - Young Thug
The Hateful Eight OST - Ennio Morricone
Cub OST - Steve Moore

London Overgrown - John Foxx
Tales From The Black Tangle - Howlround
Don't Let The Sauce Fool U - Sauce Twinz
I'm Movin' To Houston - Starlito
Beast Mode/56 Nights - Future
3 Weeks/Club God 4 - Beatking
Candy, Diamonds & Pills - Gangsta Boo
Life II Death - Amber London
What A Time To Be Alive - Drake & Future
12 Reasons To Die II - Ghostface Killah

WHAT'S WITH THESE???
John T Gast - Excerpts
Puts in perspective how good Scorn were circa Evanescence and Ekoplekz are now. Switch it off.
Father - Who's Gonna Get Fucked First?
Awful Records is a rather apt title for his label, innit?
Arca - Mutant
It's alright I'spose but am I gonna play it a 4th time? No.
Helm - Olympic Mess
Olympic snooze-fest.
*I could go on and on and on some more but that'll do.....

TELEVISION
Girls: These characters are so fucking awful, I hate them. Genius.

Better Call Saul was alright particularly the comedy gold of the Bingo scene in the final episode.

The American TV Golden Age didn't last long did it? Beginning with the first episode of Sopranos and ending somewhere around the last episode of the fourth season of Breaking Bad, I reckon. Britain however has pretty much been in a TV golden age since the 70s.

MOVIES
Remember when they used to make good movies?

Beatking - Houston 3AM

Beatking aka Club God aka Club Godzilla aka Club King Kong...

He's back thank God(zilla). The only rapper along with Kevin Gates who is currently keeping my eyeballs on the rap scene really. I was a bit confused as it started with Stopped but this is a better version than the one on Club God 4 from earlier this year. It's some kind of weird tradition to chuck an old song here and there onto your new mixtape in the rap game ie. Houston 3AM also includes a version of Keisha which originally appeared on Gangster Stripper Music 2. Something I'm yet to fully understand, whatever, I suppose. I was a bit worried on the last mixtape, as Beatking was second guessing himself. He was trying to appeal to his new white and Asian hipster audience as well as his usual hood/club fan base. He even said he recorded a whole new tape during this time and released that instead of his original recordings. He had no need to over think things though because he gained a wider audience by just doing what he does. The best way to go is to just keep on truckin at what you do best and that will keep you true to yourself and your fans. Otherwise you could lose your fans altogether and then you're fucked. Suffice to say this is way better than Club God 4 which was pretty good anyway.

This is the best release from rap zones since King Kev's Luca Brasi 2 and Beatking's very own absolute classic belter Gangster Stripper Music 2. The Club God's consistency is incredible and it continues here. Don't worry he's sticking to his classic themes here: strippers, headjobs, clubs, cars, thowin ass, his dick, paper, Houston etc. He pulls off his usual subject matter with such aplomb you don't get bored with it. Sonically he's got an array of styles as usual like ratchet, trap, 90s European tech flavas and softer soulful R&B. These styles are all intermingled now and just come out as Beatking music. Last year I asked the question, on this here blog, whether he was into rave, hardcore, gabba, doomcore etc.? He gave me an answer on Nervous, the outro, to Club God 4 by admitting his love for Neophyte the Dutch gabber crew from the 90s who had a slew of 12"s on the legendary Rotterdam Records during the golden age of gabber.

On Houston 3AM he even adds to his flavas with a hint of Calypso, Boogaloo, sweet soul and even a lil' bit of old school. I Got Hoez is state of the art Beatking with its low-key ominous yet sumptuous keyboards, brittle drum machines, subtle abstract background samples and great raps from Club King Kong himself and Short Dawg. Beatking's own productions are fine as per usual like Holup, Holup with its intergalactic siren stab, Donkey Kong soundtrack soundz, minimal keys and a wasted crawling vibe. This is shit hot! For a man who is known for being crass he can be incredibly understated at times. Not Right has got the best bass pressure on the tape while the rest of the tune has an opulence you want to get inside of. The Club Godzilla might on first impressions seem amoral or downright up in your grill immoral but he is slowly revealing a particular moral code. You might not agree with it but he does have one, not that I could give a fuck. It's just interesting in a Tony Soprano type of way. His contradictions and sophistication could be a reason for Beatking's continued artistic success though. Houston 3AM Freestyle is an unusually funky electro party jam that is soo superfly good. X-Files includes a sample of, well, the theme to the X-Files that sounds v cool you want it to go way longer than its interlude length of 1 minute. Actually the previous tune Isolated was possibly using the same notes or something very similar come to think of it. Squad keeps the spacey X-Files feel going as well but in a more 80s Casio cosmic tone setting.

One of the highlights here is Deposit which features fellow Houston rapper Sauce Walka who released the funny Sorry For The Sauce mixtape earlier in the year. There's a great bit of Twin Peaks style freaky/disturbing backwards Beatking rapping at the end of No Sleep, I like. That Ain't My Thot features a great boogaloo feel which is pretty much a wholesale appropriation of the 90s tune It Ain't My Fault by Silk The Shocker and Beatking ends it in skit style. Here he talks about strip club addicts who think they're gonna go home with the stripper because they've pumped so much money into her g-string throughout the night but they just end up getting turfed out of the club when the morning light starts appearing under the club doors. Swangas is the Beatking givin us a bit of sugar with a 90s sample I can't quite put my finger on and it's driving me mental. H is a fabulous slow jam informed by subtle gloomcore along with sweet soul vibes provided by Chalie Boy. H is obviously a love song to the city in which he resides H-Town ie. Houston. On Japan Beatking samples an artist who might be Juicy J or Chad C Pimp Butler (of UGK fame), correct me if I'm wrong and he's (the sampled dude) talking about country rap and how that became a style and an inspiration for regional and southern rap, I think? Beatking saves the best till last with the self indulgent navel gazing of What I am that's not uninteresting because he doesn't get where he stands in this mp3 generation. In the past (pre mp3) he would have been able to measure success by record sales. How do you measure it now though? He's well off, where he wants to be, got people calling him a legend, MTV playing his videos etc. but he can't seem to grasp where he fits in the larger cultural picture. I guess he is still a cult concern but maybe that's not enough for him no matter how large the parish. He never says he wants a Grammy or a Number 1 single though, I mean that's how some old people measured popularity and success. Now it's all social media hits and Datpiff & HotNewHipHop download stats. After the Club God is finished with his mini self therapy session he throws in an unexpected and secretive classic cut featuring Gangsta Boo that didn't make it onto the great Underground Cassette Tape Music joint from last year. It makes you want Beatking to collaborate with Boo again and again. This tune contains brilliant horror movie motifs, a looped scraping violin and John Carpenter-esque minimal keyboards.

I feel like my world is back on its axis with this new Beatking mixtape and hey there's a new Kevin Gates one too (more on that soon). My faith in rap is has been restored thanks to Beatking. This might be the best recording of the year. He's still the Club God! Still the Club Godzilla! Still the Club King Kong! Still the fucking Beat King mane!!

Friday The 13th

Any excuse to play another tune off John Carpenter's brilliant Lost Themes album. This is so epic. Carpenter out Goblins Goblin on this one. I think Carpenter admits to the massive influence that Suspiria, the film and the OST, has had on his own film making, scoring and career. I have a very authoritative book on American Film in the 70s worth like $200 called Lost Illusions: American Cinema In The Shadow Of Watergate & Vietnam 1970-1979 published by Charles Scribner's Sons (Macmillan Library Reference USA) but it always makes me chuckle because they call Goblin 'a Japanese keyboard group.' So they weren't too authoritative on Italian synth prog Horror bands. Somewhere else in the book Goblin are referred to as The Goblins. Sounds like a great 60's garage rock band though doesn't it - The Goblins! There probably was a band called that from the mid-west of America who released one 7" of teen angst in 1965.

Speaking of The Goblins here's one of the best bits of the soundtrack to the 1977 Italian cult movie Suspiria. Now those are some of the greatest soundz ever to come out of a synth ever aren't they? It doesn't get any better than this for soundtrack gold. That percussion too...mmm...almost a gamelan vibe albeit a tres creepy and demented one. Debt is owed by everyone on this post to the nightmarish vision of the great Goblin. Great Japanese keyboard band that they are.

From the first movie? Named differently on some releases I think? I can't find the track Mrs Voorhees which has the subliminal kill kill kill thing in it. Maybe it's called something else as well on other releases. Who Knows?

This is from the original 1982 pressing of the Friday The 13th LP on Gramavision which contained 4 tracks. So I think this is like a megamix of Friday The 13th parts 1, 2 & 3 or as the composer's like to say 'a suite'. Penderecki and Herrmann loom large here don't they? The full version of the first Friday The 13th's OST didn't see light of day until 2012 as far as I can gather. Then last year Waxwork Records re-issued it. Correct me if I'm wrong though. Maybe there was a 1980 pressing of the full version but it's not listed on discogs. Anyway I'm confused but happy Friday The 13th everybody!

I know it's a snippet but it's very cool because it's like a classic movie trailer not an annoying soundcloud thing. Actually why the hell not post the full 27 minutes of much awesomeness? Go ahead press play it'll be the best 27 minutes of your week I guarantee it or your money back.

More 80s horror for your Friday The 13th. Chuck is one of my favorite film composers What about those drum soundz and that quintessential 80s guitar lick. I could listen to this shit all day....oh...that's what I've been doing.

Alright this is the last one and it's pure horror gold. Recently re-issued on Terror Records Co. for the first time since 1980, only took 35 years for that to happen. In the interim the OST gained much notoriety and a massive cult audience who had to put up with dodgy mp3s for many years or fork out the big bucks for this rare and much coveted item. More synth horror awesomenessss. Never seen The Boogey Man. Maybe I'll try and watch it somehow. I suspect it won't be on my T-box. Then again Philip Brophy's Body Melt was on there as was Sorority House Massacre 2 (with a terrific score from good ole Chuck Cirino). So who knows?

Deep-Tech & John Carpenter

This remix is the goods, better than the original methinks and speaking of John Carpenter recently, you can hear his influence once again on this tune. The Deep-Tech producers understand his minimalism and it meshes well with their own. The vibe too.....

Loving this one off John Carpenter's 2015 Lost Themes on the Sacred Bones label. I was thinking Sacred Bones is not really my scene, you know, retro rock and all that but hey they re-released the Eraserhead soundtrack, Gary War's 2009 classic Horribles Parade and I do really enjoy hearing Moon Duo on the radio. It's funny I went a bit off Carpenter's soundtracks when he started using more guitars but the thing is all the other stuff is still in there, it just has guitars as well. I may have to reassess his later work. It's not like I hate guitars or anything anyway. Most of my favorite LPs have guitars on them!

A little bit of old School Carpenter. Soo spooky....

Carnao Beats - Chords Of Life

This is an epic tune (maybe I already posted this whatever) that kind goes to all sorts of funny and unpredictable destinations. We're in the future now. That 80s synth drum sound which a lot of these Deep-Tech guys are so fond of reminds me of those groups from a few years back who had a micro-genre Outrun centred around the Rosso Corsa Records label. Some of the better groups from this milieu included ActRazer, Miami Nights 84 and Lazerhawk. Lazerhawk are probably the most ambitious of that crew and possibly the only ones still in existence if indeed they still are?. Their last album Skull & Shark went off into epic horror disco soundtrack territory and was damn fine. So I guess there's another connection to John Carpenter and Deep-Tech and music in general of the 21st century. Migraine kicking in and I'm on a tangent without a destination I think. I best be off to a dark room with no devices or soundz, doctors orders.

John Carpenter - Lost Themes

WHAT THE FUCK???

What a nice surprise to brighten the gloom of my past week or perhaps add to the gloom but that will make me happy. Why didn't someone think of this earlier? Just get John Carpenter the music composer to do albums without the films. The films, have been nowhere near as brilliant and influential as his scores. I don't necessarily hate his movies but I think his scores are 20th century masterpieces. I dunno if I've heard anything by him from this millennium, though. Anyway lookout Zombi, Pye Corner Audio, Drokk and Umberto the real deal is here to give you a run for your money as just a recording artist. I'm a little excited by this prospect I must say. Halloween 1, 2 & 3, Escape From New York, Assault On Precinct 13, Christine, The Fog and Prince of Darkness are among my favourite pieces of music of all time! I'm not the only one who thinks this. Check out industrial music, 90s Memphis Rap, Techno, Doomcore et al. as well as 21st century genres like Deep-Tech and Ratchet. I was only saying the other day right here on this blog that John Carpenter might be the most influential musical artist of the 21st century. His music is universally adored and held in high esteem. Let's hope this record lives up to our expectations. If not, don't worry there will be another Umberto record around the corner (I hope) and whoever else Carpenter is currently influencing like Xander Harris, Gesaffelstein, Shay & Sinista etc.

This sounds very good indeed. It more than makes up for the lack of a new Umberto album last year.

Deep-Tech Is This Where It's At?

Found this excellent article over at Blissblog about the Deep-Tech scene in London by Dominic Morris (at a publication I'm reluctant to publicise after some shameful journalism last year. I'll make this one exclusive exception due to how much I'm diggin the shit he's talking about). Mr Reynolds has some thoughts too and both have an excellent selection of tracks from the scene. I tried not to double up on those. Morris too senses something in the air. I mean I knew nothing of the tensions in the scene until now but I can sense something has to give. I was also thinking how blank a lot of this stuff is and how Eno will probably show up any minute now saying something about the scene. My wife said Dance Muzak that she could ignore at low volume but get into the groove if it was boomin out of the speakers. I love that dichotomy. But for me with the volume lower it's just as mesmerising (if you're listening). It's like these tunes don't need any extraneous bits. The tunes have just enough in them to excite the punter who's invested in the music and is willing to get deep. I don't go to clubs anymore, hey I moved to the desert, but all club music gets road tested on my bike (you know my legs are moving, a bit like dancing) and going to sleep in bed (which usually includes some kind of drug of the drowsy variety, hey they're drugs). Deep-Tech has passed both tests, whereas say Gabber only really passes the bike test (but I'm not taking amphetamines to kill pain or sleep). Deep-Tech can be really trippy and hypnotic music as well as truly bangin. That's the secret to this music, I reckon, that precipice. A bit like Ratchet's 'deceptively simple' trademark, it might seem basic but it's architecturally sound and aesthetically pleasing at the same time. This precipice is probably way harder to achieve than you think.





One of the outstanding tunes from Audio Rehab Volume 1.

Here's another parallel that Deep Tech has with Ratchet and it seems loads of other musical styles - John Carpenter. You can hear it most definitely in the above track. Here's a thought/question/future essay 'John Carpenter: the most influential musician of the 21st century?' That's a whole other story but a tiny piece of the Deep-Tech puzzle.

Horror Movie Soundtracks Need No Transformation

I've only just noticed this article from late last year where it is claimed that perhaps soundtracks are mere memorabilia and the vinyl reissue boom of horror soundtracks is not necessarily based in "the music's stand alone appeal." It is also claimed that the vinyl resurgence of OSTs of horror may have led to the live revival of certain acts.

Using me as an example lets have a look at these claims. DRG Records had this series of cds in the mid 90s Classic Italian Soundtracks. I have the first two volumes of the Goblin compilations, one on  Ennio Morricone's  trilogy of soundtracks for Dario Argento and 4 volumes of  of the Spaghetti Westerns compilations. Of the 17 soundtracks featured on those 2 Goblin comps I'd seen one of the films, Patrick, at the time. Since the mid 90s I have collected 9 individual scores by Goblin and even a couple from the solo Claudio Simmonetti. Now over 15 years later I've only seen one more of the movies that they scored Suspiria and I'm not even sure if that's worth watching. Three of my all time favourite Morricone scores (sure, I like a few others too) are the 3 he scored for Argento The Bird With Crystal Plumage, The Cat O Nine Tails and Four Flies On Grey Velvet. I've never viewed the movies and probably never will. But this music is some of the all time great music of the Twentieth century.

Now I will pick 10 of my favourite horror soundtracks off the top of my head not including any of the aforementioned.

• Christine - John Carpenter & Alan Howarth
• Maniac - Jay Chataway
• Zombie Holocaust - Nico Fidenco
• Porno Holocaust - Nico Fidenco
• Halloween - John Carpenter
• A Lizard In A Woman's Skin - Ennio Morricone
• Chopping Mall - Chuck Cirino
• La Coda Dello Scorpione - Bruno Nicolai
• The Wicker Man - Paul Giovanni
• Eraserhead - Alan Splet & David Lynch

These ten soundtracks I have listened to a zillion times (but only seen three of the films) and think the music is fantastic just as much as any other genre of LP I would listen to. In fact surely there is a case for John Carpenter to be considered one of 20th centuries great composers. I don't need some deluxe reissue for this terrific music to be transformed beyond memorabilia, do I Mr Reed? Perhaps your attitude to movie music needs to transform more than anything. I often think a lot of movies don't deserve the brilliant music they get to soundtrack their films. This all fits in with my 'music is a much more successful cultural artform than film' argument that has been mentioned previously on my blog. Sure you might think I'm just a music guy, so of course I'm going to say that. Once upon a time however I was a definite film guy and was going to go into professional movie reviewing.

For how serious and intense people are about soundtracks and sound design you may want to check out the three volumes published from Philip Brophy's Cinesonic conferences in 1998, 1999 & 2000 by The Australian Film TV and Radio School. Brophy also published the excellent 100 Modern Soundtracks which was part of the BFI Screen Guides series in 2004. Perhaps someone should publish (er... maybe me) a book on soundtracks that stand alone as musical artefacts considering I've just come up with 25 of them in this short article.

The live return of people like Alan Howarth, Fabio Frizzi, Goblin (Goblin have always been around in one form or another as far as I can tell) and another Goblin was inevitable as their cults grew bigger and bigger by the day. More than likely the internet has served as the main reason for these artists' growth in popularity. Having said that, if someone was cluey and cashed up enough in the 90s to promote these artists live I'm sure they would have sold out shows in capital cities across the world.

Don't get me wrong, beautiful new shiny packaging, special artwork and the fetishization of vinyl are all fine things but it's still all about the music innit? I mean Blue Jasmine is an excellent film but I'm not about to rush and buy that OST if its released with a bunch of extra bells and whistles on chunky vinyl am I?

Love the soundtrack & the poster.
I wonder what the film's like?

Slumber Party Massacre

I was brought up a strict Catholic and it wasn't until late 1987 that we got a VCR.  So I basically missed the whole VHS horror thing. 1982s  Slumber Party Massacre is a classic of the slasher genre and along with the teenage kicks you get a feminist message.  Amy Jones was one of the few female T & A slasher directors and she makes the most of it. Way before Scream et al. she made a mockery of the entire genre.  Chicks win in the end and guys come off second best. This movie would have been great if you were a girl in the 80s havin a sleep over. I think it was Bitch Blog who led me to this film. The soundtrack is awesome too. Since watching the film and trying to track down the score I've become aware that this is a much admired item, you know, going for ridiculous amounts of doe on e-bay. Indeed Ralph Jones' soundtrack is up there with the best of the post-Carpenter school like Jay Chataway's Maniac or Tim Krog's The Boogey Man. Minimal and restrained eerie synth soundz for the psychopathic 80s.

Minimal synth tones to be stalked by

Boards Of Canada-Tomorrow's Harvest

The opening of the new record Tomorrow's Harvest seems funny to me. They have a little logo tune or is it a logtone? An Ident? I don't recall them having used one before and to me it seems like a nod to the people they've influenced ie. The Belbury Poly, The Advisory Circle and the rest of the GhostBox crew. Then there are hints of John Carpenter that I don't recall being referenced before on their previous records, which could possibly be a nod to Pye Corner Audio or even Umberto. One wonders whether they keep up with all this stuff or it's just a coincidence.

Tomorrow's Harvest does seem a lot darker and not as lovely* or gorgeous* as previous efforts. The beats seem to trudge and appear quite inert. It's still unmistakably Boards Of Canada with no sign of the guitars used on The Campfire Headphase.  The Jury is still out for me as I'm only half a dozen listens in. Still it must be alright even if I've played it that many times. I remember playing Music Has The Right To Children about 5 years ago to someone who only listened to trance and he said it was like electronic funeral music. He didn't even think you could chill out to it. So the darkness thing was always there but now we're splitting hairs over its minute shades.

*Lovely and *Gorgeous are two terms, I learnt yesterday, that announcers on a certain Melbourne independent radio station are never supposed to use on air about the music they are playing. Guess what all you prince's and princess's of darkness nice is nice! The Black Crow King obviously still wields influence in Melbourne town.

Umberto - Confrontations

What's lost is now found. This is the 4th Album (well I've got 4) for one of my favourite groups of the last few years Umberto. I was gonna try and write about them without mentioning Dario Argento, John Carpenter or Goblin but hey that's absurd. On this record though I could probably chuck in Giorgio Morroder. The cover says it all really: Nite driving with an alien invasion. Italo-Disco meets Italo-exploitation with added hand claps. This could be my favourite of their releases so far. I could listen to this all day and all nite, er.... that's what I've been doing. Something tells me these aliens aren't gonna be that nice and might be wearing hockey masks but you kinda want them to land anyway.

DROKK

Now this a bewdy. One dude from Portishead and one other dude. It's a soundtrack for a movie that didn't want it in the end I think. Anyway it's good gear, probably the movie's loss there, even the Mrs was diggin it. She said it would be a good soundtrack to Neuromancer, did they ever attempt to make a movie of that? So you're probably gettin a picture of dystopian future cities, cyberpunks, 2000AD, old fashioned ideas of futures that never arrived etc. This is a topshelf homage (and there are a few) to the music of John Carpenter and Alan Howarth (and inadertantly or not to thier influences like Goblin, Tangerine Dream et al.). One track had me wanting to dig out my old Add N to X cds. Weird 3/4 of a cd cover, which I kinda like. Harsh minimal synth tones for the escape from Mega City One.



Diggin these grooves.
More Nigerian 70s gold.
Soundway Records have
done it again! 





On the fence at the moment
with Laurel Halo's 2012 LP
Quarantine.