Labels: Meinir GwilymWales. Monday, 8 September Vintage Vinyl. Over the summer, MrsRobster and I visited a number of weird and wonderful emporiums in search of weird and wonderful things.
Some people may call these places 'junk shops', but that doesn't really do them justice. Anyway, somewhat inevitably, whenever I spied a stack of old records, I had to browse through them. While doing so, I had an idea for a series of posts. I decided to set some simple criteria: am I able to write a short article about it? Labels: Adam and the Antsvintage vinyl. For the foreseeable future, Saturday is Genius Day, where I feature a track by one of those artists I deem to be at least semi-worthy of the tag.
And who might that be? Well duh! Look at the title of the post! Friday, 5 September 50 songs to take to my grave Vincent Black Lightning. Labels: 50 songs to take to my graveRichard Thompson. Wednesday, 3 September Welsh Wednesday 1. I've threatened to do this but now is the time. I've already featured a number of Welsh tunes on here in some form or another 14 at last count so while I'll try and avoid the artists I've already mentioned for the time being, I am effectively wiping the slate clean.
The guitarist is called Ego, the keyboardist is Morgana why not Morticia? A classic, noteworthy, and resolutely Kiwi group, Fetus Productions represent a whole post-punk scene in NZ that desperately needs historical revision and reassessment. Lemon Jelly know this, so they create their beautiful, poised, picture-perfect sound art with a sense of serene simplicity.
His debut solo album is inexplicably, unexplainably, brilliantly groovesome. Like Mr Scruff, Rae has got a thing about fish check the hilarious artworkand the whole project is wearing a mile-wide smile.
Not so. Is the current musical climate really such a dull pastiche of real life as to imbue this early 90s combo with rich hues, style to kill and and enough depth to sink the fangs into? What was it we ever liked about these faceless dickheads and the yodelling diva? This is inoffensive cocktail jazz, primarily standards, with a few concessions Billy Joel and Joni Mitchell covers to pop mainstreams outside the jazz slipstream.
Throw it on on one of those late afternoon barbies. As ever, their combination of real rock band and loopily sampled stuff makes for an addictive if sometimes sharp listen.
The sound of India — a very hip sound these days — also gets infused, with the help of elderly Indian violinist Dr L. If Goldenhorse just made the classic Kiwi pop record with a little bit of Phoenix fizz, then Fang have just made the old tawny port version of that record.
Their first three albums were popular but, to my ears, undistinguished chill-out grooves. This fourth album is an attempt to spurn the genre they helped popularise but never did anything creatively substantial with. This is a song-based defection from the land of nod-groove.
Not so: this is possibly the strongest one yet, with the usual quality choice of material, careful placement and attention to getting just the right mood to proceedings. And of special significance this time round is the inclusion of two tracks by Auckland-based electronic dub acts, Sola Rosa and International Observer, the second of which was recently released as a vinyl-only single in the UK. Summer barbie hit all the way. A bunch of anonymous string players botching up the classics and Led Zep songs by putting horrid club-footed beats through everything.
Sure, the Indian flavourings are fetching, but what a crock of doggy doo. Earnest all the way, it could do with just a little dirt under its nails. Who would have thought? My mum would want to wash out his mouth with soap, such is the filth emanating from this white Westie. Good for a laugh, though. The first and last of those are both featured on this very delicious Sunday afternoon roll a joint compilation.
It sounds inbred to you, too? That only adds to the charm. Five years on and its followup treads an even darker path, and confirms the grim beauty of that earlier album by wallowing in the mire one more time. Not exactly in sync with our glorious Summer, this one will be glued to many turntables as the days grow shorter, and the cosmos seeths with the desire for bloodshed.
Peel has been soaking up new sounds and broadcasting them on his BBC show for 30 years, so rather than the typical beat-matched dance set, his Fabriclive is a fabulously eclectic selection of 24 of his favourite songs.
If only more djs were as expansive and diverse and era-inclusive as Peel. Reissues of crusty old Jamaican music from the 70s are devoured with an alarming degree of enthusiasm. Because of the enthusiasm surrounding those awesome years of Jamaican reggae and dub experimentation, much crud gets reissued and acclaimed as the work of genius.
Every now and then, however, a genuine nugget of musical brilliance gets unearthed. This is such a case. A balm for the soul. The Norwegian collective have made one of the best jazz albums this reviewer has heard for a long time. Like Zappa, Jaga Jazzist play it just straight enough to subvert the medium to their own ends, with the canny introduction of electronic trickery, which allows compositions to veer off the travelled path and osmose into something outside conventional templates.
A killer. As an electronic band they were always different from the pack: how many bedroom circuit-gazers ever got picture spreads in The Face? Their fifth album shows them to be one of the cleverest bands on the planet, as they dissect the glam scene of the early 70s in a way that avoids the trap of merely aping their forbears.
Um, no. If you want to hear the Thompson Twins mauled by gangster rap, or the Cookie Monster vying with contemporary electronica, this is a fun ride. The music? These dirgey, riffy epics remind me of some of the less musically proficient, yet self-important 70s groups.
The Electric Light Orchestra springs to mind. Still, that back cover is a revelation. The collected works of Rolling Stone Bill Wyman? Not enough meat to warrant the bite. There are a LOT of great songs here though, and better that McCartney should be giving new life to his old songs than the jukebox treatment from some corner bar band.
Smoochy, but so much better than I remember them. His nimble fretwork is never flashy, just exquisitely tasteful and effortlessly lyrical. The problem with this much-hyped project is a typically Kiwi one, where the best ideas are still in germination, and too many malnourished ones are let out for public consumption. Oceania II Universal A great pity that this sad project — a second collaboration between ex-Killing Joke singer Jaz Coleman and singer Hinewehi Mohi — will be the first exposure many will get to Maori culture, by dint of its international release.
Uninspired Euro-style easy listening grooves which are fundamentally lacking the funk kill it stone dead. But make no mistake: this IS a pop record. Which means that the music is full of variety and colour, but what about the songs?
Floetry is no exception, but it is a distinguished debut. Former basketball champs Marsha Ambrosius and Natalie Stewart London-born but Philadelphia-based are an inspired combination of poetry, soul and hip-hop, and it might prove auspicious to ignore the fact that Michael Jackson chose one of their compositions for his last bomb of an album.
Lauryn Hill and Jill Jackson fans might enjoy this musically and stylistically ambitious record, one that successfully avoids so many of the lyrical cliches this kind of music seems to evoke so naturally. You know, who needs another album by a bunch of nerdy Australians who always sounded like second-rate Flying Nun wannabes anyway? And all that. In fact one can detect a good deal of intelligence, humour and even the odd droplet of sweat in these powder-puff clean beats.
Austrian duo Richard Dorfmeister and Rupert Huber are masters at the craft of fashioning contemporary musical wallpaper, from all the most stylish and pleasing ingredients. The first disc of this double set could have them accused of resting on their laurels, so unambitious is their agenda.
Having dabbled in electronic dub in their past, this time they utilise dub-type effects mostly in the sensory shift of the upper registers, while the bass weaves melodic figures instead of the usual dull thump. This might be stylised to death in places, but at least Tosca are infinitely subtle in their attention to sonic detail.
You could justifiably call it flaccid, poop, sacharine, blah, or just downright Godawful. But this double cd collection of smooth flowing excrement is more of a walk down nostalgia lane than anything. And so do the Temptations, and Luther Vandross. Simply wrong-headed and very craven. With all due respect, why bother? Olivia Newton-John, duetting her way through a bunch of mediocre songs, packed full of vulgar arrangements, and eleven hopeless partners in crime. This makes Grease sound good.
Uh, right. Catgut screeching, simplistic melodic progressions, and the attack of contemporary heaviosity holds the attention for approximately one minute, and the overall effect is closer to the amped-up jigs and reels of Scottish group Shooglenifty.
Preferable to most overly illustrative film scores, I would still have plumped for a cd that contained excerpts of her score, along with the excellent Kiwi reggae and dub tracks featured in the film.
The arrangements on this double re-recording are often portentous and overbearing, and it would be ludicrous to suggest this as a starting point for any burgeoning fan, but I love it anyway. A moving document. Droll, yet deeply passionate, the second album by the former stockbroker lays waste to the unimaginative song craft of the David Grays of this world. Flaccid, they were. Pretty Cool — their third album — is seriously tasty. What gives? And what the heck is that naked woman doing hunched in the desert?
Post-Britpop never sounded so passable. Two words: Jimmy Barnes. This compilation casts around for Barnes songs that are close to the hearts of his Kiwi fans. Lovingly remastered, Peg Leg gets the attention denied so many other worthy Kiwi releases from that era. Worth a listen for the wonderful naivety permeating mids Kiwi musical endeavour. This is delightfully wonky stuff. Bring on the lo-fi chicken bus! And for all its ultimate vacuity, these yearning for the simple life songs still have an odd charm, despite his rather flat, nerdish vocals.
And those backing cats, those guys with names like Leland Sklar, Russ Kunkel and Danny Kortchmar; well, they were kinda funky in an odd way. Unlike the similarly hoarse-voiced Jimmy Barnes, Welsh-belter Jones delivers his lines with humour, honesty, and an appealing lack of 21st Century irony. This winning compilation joins the dots between his s hits, and several comebacks in the 80s and 90s.
Pop history fails to be rewritten, but their goodtime rock will get them laid at least. Crystal clear recording, and a penchant for either disco or funk are what separate these acts.
Palatable sounds for astonishingly empty times. Pop whore ala Madonna? These are solid old-fashioned pop tunes wrapped in solid old-fashioned arrangements, with the odd bit of orchestral drapery, nice guitars, and not a note out of place. This fellow Dave Lee hey, I thought he was one of those noddies in 70s glitter slammers Slade! Lee has sampled chunks of most of his pieces, and expects to get hailed as a potential new Hollywood composer?
There are sample-based artists who have done this thing brilliantly: check the Troublemakers, the Dining Rooms, Snooze.
Vanity is the only possible explanation for this flyblown, overblown, preening attempt at another operatic excursion. But they broke up before an album could materialise. One Lung somehow has stayed off the radar, despite releasing a steady flow of self-distributed, promising material over the past few years. One Lung is a one-man-band, making his pieces by delicately sampling his own and a vast history of recorded music. A One Lung track can easily fuse an atmospheric classical phrase with polyrhythmic jazz percussion and electronic squiggles.
Very seldom, however, does his music sound like a join-the-dots attempt at slotting things together. Cleverly, it must be said, he makes cohesive compositions out of the composite parts. Why not a proper version of their album, with extra tracks tacked on for good measure.
But this slice of tame guitar pop really sucks. At last, a contemporary country album with a perfect mix of exemplary songwriting skills, detailed lyric extrapolations, and a sound that while deeply nostalgic, manages to convey the subject with both grit and soul.
Like The Eagles without drug habits or schmoozy Californian lifestyles. But that tells us nothing about the genius of what comes out of all that. Imagine a gainfully unemployed, yet creative fellow living in the American mid-West suburbia.
Would he make a miserable record? Hell no! This is post-rock in the very best sense: effortlessly experimental yet digestible, and Fog finds his voice fully formed on what is only his second album.
Sure, that album landed Radiohead at the top of the pile. How tiring that must be for poor Thom York and Co. Sound tedious? If at times I yearned for more contributions from guest guitarists Nigel Gavin and Dan Sperber, the horn-based aggregation delivers a varied gumbo of Melhuish originals inspired by but not held captive by the loose-limbed jazz of masters like Don Cherry.
My only small gripe is a recording which fails to pack the dynamic punch this music deserves. Something Dangerous treads a hazardous line: like a lot of heavily produced contemporary pop, it involves a number of producers and a pile of different musicians, guest artists and collaborators.
A convincingly boisterous blend of styles and languages, Something Dangerous deserves to make Atlas a global superstar. They produce otherworldly sound; that is, as otherworldly as a remote part of an ancient kauri forest, so hauntingly do the sounds echo our unique environment. On the accompanying DVD, the two talk about their exploration, demonstrate each instrument, and perform pieces from this, and their previous cd. Which is another way of saying that while it has as much to recommend it as a top-notch new haircut, it could well do with a tattoo or two.
And with appreciation of their sophisticated jazz-influenced pop at an all-time high, Everything Must Go feels like an album that Becker and Fagan slipped into with ease. Rather than the cramped, somewhat shrill arrangements that marked the reunion album, this one capitalises on those qualities that the Dan do best. Almost like an Unplugged Dan, they ease off on the complex arrangements that typify many of their better 70s moments, which reinforces the natural funk swagger of their rhythms and those unmistakably knowing lyrics.
Oh, it must feel good to come out Smells Like Teen Spirit (Nirvana Cover) - Tori Amos - Rare Tracks & Covers (CD) other side of that long mid-age crisis. Check out the wonderfully primitive, almost punk-like sound of Sam Mataparae with the Rocking Rockers. Rather than a flimsy piecemeal cover, this type of release deserves a proper booklet with song-by-song dissertation.
But a word of advice: get some sun, Andy. The fact that they come from Auckland, and that their music has a bite which is sharp of incisor and Smells Like Teen Spirit (Nirvana Cover) - Tori Amos - Rare Tracks & Covers (CD) in an effectively disciplined way makes it something special.
Blasted good fun. Tears were flowing as these songs were hatched. The Brighton three-piece apparently used broken-down old computers and rusting guitars and an ex-girlfriend with a gorgeous voice to patch their album together. Not since the first Portishead album has siren-like female singer been so well matched with visionary musicians. This is guitar music which starts with a whisper and slowly blows into a ferocious gale of sound, only to subside again.
Trouble is, when they do song-based stuff, it tends to sound like a luke-warm UB40, who are of course, one of the most ordinary groups of all time. Which is? Brilliant, dull, ecstatic, weedy, poetic, droning… the Verlaines are still as great as they are awful. For the most part, Young drops his demented melancholia, gets a sense of humour, and turns on the Crazy Horse boogie machine. And it rocks. Buble pronounced Booblay is a Sinatra clone with a few genetic improvements, and a penchant for covering old Queen and Bee Gees songs.
Next time? Brilliant and, of course, terribly sad. But at heart, Magnet is the vessel through which Even Johansen a Norwegian based in Scotland expresses his emotions. The gestures are too big, too bland.
But aside from my reservations about political parties getting involved in music enterprise Green Room is a kind of musical manifesto for the Green Partymuch of the music here lacks the edge, the innovation, the subversive tactic, that makes the onward march of art and culture worth pursuing.
Too often, however, the voices sound like an exotic topping for some faceless, nameless boffin endlessly grooving with his computer programmes. Wherefore art thou, Poco? But it has a raw emotionality that sears the roof off any of the saccharine sentimentality of their forbears. Promising, and full of memorable hooks and sing-along-lines. Back then, they wore it well, but they were always close to self-parody.
With all the nutty energy of Prince at his 80s best — combining funk, disco and brash rock moves in one peppy package — Jaxx have moved things forward by taking a further step back. Like Dave Dobbyn, McArtney has made it to his middle years with dignity intact, and produced an album rich with reflections.
Packed with intelligent observations and ironic insights, and the sparse production illuminates those strengths. Undeniably brilliant.
Andrews Concert Hall in Mumbai. This August will see long time music legends and mutual admirers, ZZ Top and Jeff Beck on tour together for the first time. Newer Posts Older Posts Home. Retrieved July 22, New York Daily News. Retrieved October 23, The Hollywood Reporter. Retrieved July 11, Retrieved 14 February Film School Rejects. Archived from the original on June 29, Retrieved June 29, The Huffington Post.
Retrieved February 21, Retrieved July 31, Ultratop Library and Archives Canada. Retrieved November 5, Retrieved August 31, March 7, Retrieved July 28, February 22, Retrieved August 4, February 29, Retrieved February 10, March 21, Retrieved March 23, March 14, Otava Publishing Company Ltd.
ISBN X. Les classement single. GfK Entertainment Charts. Retrieved February Smells Like Teen Spirit (Nirvana Cover) - Tori Amos - Rare Tracks & Covers (CD), Irish Singles Chart. Dutch Top Single Top Top 40 Singles. Polskie Radio. Archived from the original on November 11, Retrieved November 11, September 27, Retrieved July 30, Singles Top Swiss Singles Chart.
December 14, Retrieved June 8, December 21, Official Charts Company. February 15, Retrieved January 27, December 11, Retrieved February 22, January 10, January 20, Retrieved June 2, Retrieved August 12, Retrieved January 17, — via American Radio History.
The Australian Recording Industry Association. December 19, Retrieved October 6, Media Control Charts. Recorded Music NZ. Retrieved September 12, January 9, Archived PDF from the original on July 5, Australian Recording Industry Association. Retrieved July 9, IFPI Danmark.
Retrieved May 18, Bundesverband Musikindustrie. Sunburst Telecaster Custom. In Earnie's words: "Fender sent this out for the In Utero tour to replace the blue one 1. Stock pickups were very shrill. After Kurt's coma in Rome, I thought modifying this guitar would make it a workhorse and get him away from the Mustang-Jaguar image.
Hopefully get him perked up. I put on new tuners Gotoh's - his favorite. A Tele bridge from Stew-Mac with a Humbucker cut-out and individual saddle for each string.
He got this 2 weeks before he died, and said it was his new favorite. He used it for the home recordings he was making with Pat. The Jag-Stang. You all know about this one by now, but in case you don't: This is taken from Guitar World, March "'I was able to track down what they needed,' says Fender Director of Artist Relations Mark Wittenberg, 'so they could keep his guitars up and running.
Then we were contacted and told that Kurt had an idea for a guitar -- something that he had in his mind's eye but wasn't really seeing out there in the real world. His favorite guitar was a Mustang, but there were things about the lines of the Jaguar that he really liked too. Brooks journeyed to Cobain and Love's Hollywood apartment to discuss the guitar. The couple were just in the process of moving out.
Like Ferrington, the Fender guys were impressed with Cobain's courteous manner. He'd been out or played the night before, so he was still a little tired. But as we started talking about the guitar, the adrenaline started flowing. He was very easy to work with. He knew what he wanted, but at the same time he was able to say "You're the builder, so you know the best way to accomplish what I'm after.
He then pasted them together in a way that combined the upper half of a Mustang body with the lower half of a Jaguar. Brian's site should have this picture, by the way. Kurt called this hybrid the "Jagstang".
Fender cut a body and sent it to Kurt, and Kurt sent it back with some slight suggestions. He then sent out one of his favorite necks for them to copy. Pretty soon, the prototype instrument was created. The neck pickup is a single-coil Texas Special, which was originally designed as a bridge pickup for Fender's Stevie Ray Vaughan model.
The bridge pickup is a Dimarzio H-3 Humbucker. Unfortunately, it's in poor form. Kurt forgot to have Fender do the contours for the arm and the stomach. Kurt and Earnie Sesame street? Earnie told Mark Wittenberg about these changes also, the fitted bridge. He was interested in them, but Mark passed away also. So Fender released that Jag-Stang in the way Kurt received it. Kurt very rarely played the Jag-Stang, but I have one picture of him using it thanks to dcliffod rosenet.
Oh, Courtney gave the Jag-Stang to R. Peter Buck plays it in the What's the Frequency, Kenneth? Fender Electric string. Mid 60's, Dot neck, right-handed, sunburst with cherub stickers. Courtney had a matching one, but both were damaged in the Spring bathtub incedent Kurt felt that if his house was robbed, burglars wouldn't look in the bathroom, so he hid some songbooks, tapes, and guitars in the bathtub. Unfortunately, something went wrong and the bathtub filled up with sewage.
Kurt's was damaged more. The body split and warped, and was water stained about halfway up. Kurt was really depressed Smells Like Teen Spirit (Nirvana Cover) - Tori Amos - Rare Tracks & Covers (CD) this. Earnie offered to build him a new body but Kurt didn't think it was worth saving. He wrote "Serve the Servants" on this. In fact, his first guitar was probably one well, maybe not his first guitar. Univox Mosrite copy. Actually called "Hi-Flyers". White pickguard, maple fretboard.
White Univox. Not custom made. Used in Heart-Shpaed Box video. Maple fingerboard. Had a B. Rich made Badass bridge. Smashed in Kansas City There is another one just like it that survived. It had different string trees than the one used in the video. Earnie sent him this guitar to use in the video when he couldn't find Mustang 1 competition Mustangwhich turned out to have been under his bed the whole time!
Sunburst Univox Custom. Used on SNL It had a nailed on logo that said "Univox Custom". This was his favorite Univox. This was the first guitar that had a Duncan JB installed in it.
Kurt loved the sound of this "plywood beast". The previous owner was a Minister in everett, washington. This had an Ibanez Badass bridge installed. Same as p. Univox Hi-Flyer. Had a Mahogany Neck and stock single coils at Sao Paulo show. Kurt liked this one too. Later got a humbucker in the bridge. I think Earnie meant the Rio show. Hollywood rock show, anyways. Natural Univox Hi-Flyer. He had 2 of these, in Fall They had stock humbuckers he liked these pickups a lotBadass bridges stock humbucker models had single-piece bridges, while P single coil models had Jazzmaster type bridge-tail piece units.
He had a friend paint one of these in a Van Gogh style. These had maple necks and fingerboards. Black Univox Les Paul Custom copy. Bolt-on neck, stock hardware, painted Flipper fish over logo in white, and had a Witchypoo sticker on the body.
Univox, with pink and green Smells Like Teen Spirit (Nirvana Cover) - Tori Amos - Rare Tracks & Covers (CD) all over it. First ever smashed guitar.
Obviously, Kurt had more Univox guitars, but these are the ones I know about. If you know any more, e-mail me! Black Epiphone Les Paul, used for Nevermind underwater photo shoot. Vantage orange Les Paul copy, bolt-on neck. Bought day of Motor Sports show, smashed at the show as well. Mosrite Gospel. He loved this guitar. Used at Motor Sports show. Also in Screaming Life. Gibson SG Standard with pickups taped in. Blueish color, used in Tijuana, where it's smashed in half and it's neck is broken off.
Reappears at Raji's, taped up beyond belief. Epiphone, red, ET model according to tombrabs sprynet. Tom Brabson also says that it is made in Japan by Aria for epiphone.
He also mentions that they make Univox guitars, too. So thanks for the help! Blonde F-hole Archtop Harmony. It had fake painted flame maple on the sides and top. Also had a maple fretboard. This sat in Kurt's doorway to his home with a broken headstock. Kurt said he liked it that way.
National Map Body. Seafoam Green, right-handed, tremolo, small body fiberglass model, 2 pickups, not a big Glen Wood, strung lefty, but strap button not moved. Never toured. Had a pearloid fingerboard and back.
Lefty Rickenbacker Bass. Natural, he loved this bass. Ibanez Les Paul custom copy, cherry sunburst, Dimarzio X2N pickups, 2 coil tap mini switches installed when boughtlefty, set neck, flame in top, black pickguard and pickup rings, pickguard may have been removed.
Black or gold speed knobs. This was a great lefty guitar but Kurt wouldn't play Smells Like Teen Spirit (Nirvana Cover) - Tori Amos - Rare Tracks & Covers (CD) live because he said it looked too much like Jimmy Page!
Earnie may have sent this for the In Utero recording. Blue Mosrite Mark IV. I know that Kurt played more guitars, so if you know of ANY others, please e-mail me and I'll add them in a further update!
Martin DE. Read more about it in the "Recording of Unplugged section". This was cool looking, but rotten sounding. So much metal bolted to the spruce top that it sounded more like a banjo than a Martin. Has cutaway in body, played at radio show where Kurt is wearing a leather jacket. This guitar along with the Dolphin bass that Chris is playing is a rental, and was not owned by Kurt.
The band wasn't too happy about pictures being circulated of them playing such "modern" instruments. Ibanez Vantage or is it Vintage? Epiphone Texan, probably a Has Nixon Now sticker on it. It's adjustable bridge was replaced with a lefty flat-top bridge. Earnie claims that it's one of the best sounding acoustics he's heard, and definitely Kurt's best. Kurt wouldn't play it at Unplugged. Stella string, strung with 5 nylon strings. I have a photocopy of the receipt for this guitar.
This guitar is visible on the table of contents page of the October issue of Guitar World. It had a floating wood bridge glued downwas flattop, is sunburst, had a white screw-on pickguard.
Kurt recorded Polly, Something in the Way, and the demo version of Lithium on this. This got new strings finally! It was right-handed. Butch Vig says that it was tuned down pretty far from E. Harmony string. Identical to 5, except natural finish. If anyone knows of any others, e-mail me! That's it for guitars, as far as I know. I'm sure there are more, so send me whatever you have. His favorite studio amp was his Fender Twin Reverb. Live, he like Marshall cabinets, but would probably play just about anything.
Fender Twin Reverb.
Black Night (Original Single Version) - Deep Purple - In Rock (CD, Album), Die For Me - Splatterpunks - The Devils Empyrean (Cassette, Album), Tharmas - Autumn Tears А Также Arcana / Dargaard / Stoa - Autumn Tears А Также Arcana Dargaard Stoa, Odumankumah Boa MI - Nana Tsiboe - Asem Ni! Trouble Dat! (CD, Album), Elizabeth Herbin, Alexis Galperine - Hommage A René Herbin (Vinyl, LP, Album), Heidi - Franz Lambert - Horch, Was Kommt Von Draußen Rein? (Cassette, Album), Lord Franklin - Folkdove - Folkdove (CD, Album), Planet Rio - Various - Time X Vol. 3 (CD), The Boys Of Summer - Various - The Very Best Of Euphoric Dance Breakdown (CD), Michel Rivard - Libérer Le Trésor (Vinyl), Sex & Violence - The STDs (2) - We Fucking Hate You All (CD, Album)