Where ‘Blow’ comes over in a sultry 80’s way, all Sade-meets-Matia-Bazar, the next track ‘Arise (feat. Duvestar)’ ups the tempo and adds some gritty drums. Right from the start, an insistent piano riff propels ‘Arise’ forward in one majestic flow. All the while, the laid back break beat played out by the drums anchors the track on the floor. ‘Arise’ bears the signature of Glad’s partner and beatsmith Oisin Lunny (aka Duvestar), who can count Firstborn’s ‘Mood Club’ among his hits.

Glad keeps on dancing all the way through the closer ‘Imagine Skies’. But this is a different kind of dance, an intimate, slow swirling movement cut loose from the world around her. Dance on, Marie, “On and on, till I naked stand. On and on, till I love myself”. That this intense performance is driven by a solo piano only makes it all the more haunting.

‘Bedroom Stories’ is a trilogy of electroacoustic pop stories about love in all it’s dimensions and forms. Part one about love towards ‘Him’ was released in December 2010. Part two about love towards ‘Her’ followed in September 2011. In the third and final part, Glad opens the window to what she describes as her ‘inner room’ and finishes the trilogy with three songs about love towards ‘Oneself’.

The three tracks were produced by Glad together with Lunny and singer songwriter Luke Slott. The tracks were mixed by Jessica Corcoran (Maximo Park, Robyn Hitchcock). You can listen to ‘Bedroom Stories’ on Soundcloud and buy the songs on iTunes.

Of all the dance music styles of the late 1980’s, Acid Jazz was the likeable rogue. Acid House and Madchester stole the limelight, but Acid Jazz - named after a small indie label operating out of London - dug deeper and tore up dance floors by re-introducing the primeval power of Soul and Jazz. The James Taylor Quartet played tight arrangements of classic 60’s film tunes like ‘Alfie’ and ‘Blow Up’ (see the video at the end of this story!), Galliano would read Jazz poetry over solid grooves and Snowboy brought Latin percussion to the floor. More than just music, Acid Jazz was a lifestyle choice - Acid Jazz was doing Soul spins to Hammond organ driven stompers and hunting for polo neck jumpers and 60’s style leather jackets on an Amsterdam flea market.

In the 1990’s, the Acid Jazz sound went mainstream with chart acts like the Brand New Heavies, Corduroy and Jamiroquai. Then it went quiet around the small label from London’s East End. Far from having died, Acid Jazz has live on underground and is celebrating its 25th anniversary this year. Label founder Eddie Piller believes that all fashions come and go in cycles and that Acid Jazz is on the up again.

“It’s the Mod scene that adopted Acid Jazz first when we originally launched in 1987,” says Piller. “Look at the strength of the Mod scene now, particularly here in the UK, it hasn’t been so big since the 80’s!” The first crossovers of Mod into the mainstream have already been spotted, like Tour De France winner Bradley Wiggins who recently guested on Piller’s own podcasts on all things mod, The Modcast.

Mods, short for Modernists, first appeared on the scene in England in the late 1950s, early 1960s. In a country only just emerging from post-WW2 rationing, people looking to set themselves apart from the grey masses set their sights onto the US for inspiration in matters of style. Button down shirts by New York shirtmakers Brooks Bros. (standard wear at Eastcoast ‘Ivy League’ colleges, later copied successfully by UK shirtmaker Ben Sherman) and short, fitted ‘bum freezer’ jackets were your ticket to another world. Jazz made by stylish chaps like Miles Davis et al. was their original music of choice, followed later by the emerging sounds of US Soul and Jamaican Blue Beat. Mod may have taken on different guises over the years, from suede heads to casuals, but it’s a scene that has never gone away.

Eddie Piller’s All-Time Style Icons

Steve Marriott - The front man of hard living 60’s Mod band Small Faces wore the middle parting barnet like no other (the band also put Rod Stewart and Ronnie Wood on the map)

Miles Davis - The trumpet player wore the Ivy League look with an edge in the mid 1950’s to early 60’s that made Brooks Bros. button down shirts and bum freezer jackets look mighty cool. Davis is arguably one of the roots of Modernism.

Paul Weller - The Jam, The Style Council and now solo - Weller can wear pin stripe or Fred Perry and always looks the business.

Piller, a dyed-in-the-wool Mod who published the influential fanzine ‘Extraordinary Sensations’ before launching Acid Jazz, believes that the original musical themes that fuelled the Mod scene since the beginning - Soul, Jazz and Blues - are still going strong. “There’s only so many times you can watch the X-Factor and become emotionally involved,” opines Piller. Going underground provides much stronger emotional bonds to certain styles of music and its creators.

“The more I DJ, the more I like to play old Soul records from the golden period between 1966-75. It all goes in cycles. 3 years ago you could have 3,000 in a club and even my room would have 500 dancers in it. Now you are looking at much smaller numbers to start with. But then, some of the best nights you’ll have had would have been in places with less than 250 people.” And the buzz created by this group of 250 is bigger, because they are more committed to their scene.

The internet does not put more tools at the disposal of indies and their artists. In a way, it helped that bands had to go out, look real people in the eyes and win approval on their scene - Like virtually all of Acid Jazz’s signings. Affiliation to a particular scene would mean that people were more likely to check you out.”Today, everybody can make a record in their bedroom. But that’s not to say that you’ll have success. There is much more background noise you need to shout over. How many facebook pages do you know which have 12 likes and how many count their followers in their thousands?”

Back in the 1980’s, news about artists and music travelled on the xeroxed black and white pages of countless homemade magazines, the so-called Fanzines. Piller’s own Extraordinary Sensations sold 15,000 copies in its heyday. When you consider that there were about 150-200 similar fanzines around at the time, this is no small feat. Unique, quality content made Extraordinary Sensations a success. “We had people waiting for the next issue. They wanted to know what we would be covering next.” On social networks, your reach is much, much smaller and more random. Twitter estimates that every time you tweet only 25% of your followers will see this particular update.

Piller is concerned that there are less ways for underground acts to reach the mainstream. “There ’s always been manufactured Pop. What’s different now is that there are less outlets for alternative sounds. I’ve grown up with the likes of John Peel and Top Of The Pops, where you would see acts like The Jam and The Stranglers mixed in with the hits of the day. Now you basically only got Jools Holland and how many acts can you fit into a year of Jools’ shows? Maybe 30?”

All fashions come and go in cycles and Acid Jazz is ready to step back into the spotlight. Far from dwelling on its past success, the label is still developing new acts like Manchester’s Janice Graham Band. “It’s nice if fans ask for a re-press of a record we did 15 years ago,” says Piller and adds quickly “but that is not entirely what we’re about. There is too much good music out there now to limit yourself by only looking into the past.”

Acid Jazz will bring its 25th anniversary celebrations over to Dublin’s intimate Sugar Club venue on Friday, 16th November. Piller and guest DJs including original Soul Riot DJ Gerry Molumby promise to turn the Sugar Club into Mod heaven for the night. “I’ll play some of the records that inspired Acid Jazz and some of our most influential tunes,” reveals Piller. “You’ll also hear some Old Skool hip hop and Funk. I’ll try and make it a musical journey!”

A Blast From The 80’s: James Taylor Quartet ‘Blow Up’

For a more in-depth interview with Eddie Piller, see the recent feature in State magazine!

If you’d like to find out more about Mod culture, the music and the clothes, I suggest the following two books to you:

• Paolo Hewitt ‘The Soul Stylists – Six Decades of Modernism from Mods to Casuals’
• Robert Elms ‘The Way We Wore’

If you want a quick buzz, skip straight to ‘Rum Punch’ or the fists-in-the-air-and-trainers-to-the-floor anthem ‘Air Max 90′. Savour the combination of speaker blowing beats and slick production when Danjah puts his 10 years of frontline experience in the Grime scene to good use. The beats are big, the basslines twisted and the atmosphere is heavy with electric noise.

The title track creeps up five times in different guises, making ‘The Dark Crawler’ Terror Danjah’s nod to the one-riddim album of the golden age of Reggae. Terror parades his Dark Crawler rhythm as a boombastic intro, three full length interludes voiced by different artists and, finally, an all-systems-go outro. Because the rhythm is actually rather good and the guest vocalists give it large, I keep listening to all three versions of the ‘Dark Crawler Interlude’. One track, three different flavours: First up some proper Old Skool yardie vibe with Riko Dan, then some edgy pop fizz with Mayhem Deadly and Saf One and finally all moody Urban Noir with Trim and Kozzie.

Watch ‘Dark Crawler Interlude’ feat. Riko Dan

If you want to come down gently after the heavy rhythms, then program ‘Delicately’ to play last - A mellow downtempo jam with echoes of R&B and spacey Indian tabla percussion which features Ruby Lee Ryder on vocals.

‘The Dark Crawler’ is Terror Danjah’s second album, following ‘Undeniable’ from 2010. It’s a more consistent affair than its predecessor, a lot slicker and brims with confidence. Some big shot pop guys and girls are bound to look this man up soon to spice up their act with his production skills. Get your mitts on his music before this happens.’The Dark Crawler’ is out now on UK indie Hyperdub. Terror Danjah is currently on tour in Japan and China. He’ll bring his live show to the Twisted Pepper in Dublin on 25th October before heading off for Sweden, Spain and the UK.

The best Psych bands were fiercely driven by the sounds inside their heads and often had a rather tragic relationship with the world around them. Inspired by a young John Peel working as a US radio DJ in 1966, California’s The Misunderstood (main picture) moved to England and lived off the trash thrown out by a local chipper with the US draft board and UK immigration officials breathing down their necks. Yet they produced music in ‘66 that was light years ahead of its time - Which didn’t help alleviate their poverty. Felius Andromeda donned monks’ robes and taped ‘Meditation’ in an old church to get that intense vibe but got brushed off as just another gimmick. The Creation - who attacked their guitars with violin bows and occasionally did action paintings on stage - proved too much even for swinging London and flopped.They eventually enjoyed a brief glimpse of rock stardom in Germany.

Listen to Tuneraker’s free 60-minute mix of Psychedelic classics on the player below!

There are two main strands of Psychedelic music that developed in the 60s: The overtly experimental UK strain and a grungier, more garage rock flavoured US strain. By the end of the 60s, the sound had inspired bands in Germany, France, Japan and further afield. A second wave of Psychedelic artists followed in the mid 1980s and a third generation of loosely Psychedelic inspired bands like Om, Boris and Acid Mothers Temple carried the torch well into the noughties.

Volume 1 of 10-Speed Psychedelic Racer focuses on the classic UK and US 60s sounds. All soaked up during a misspent youth hanging out as a 2nd generation Psychedelic hopeful in Paisley shirts and Chelsea boots in Beat Keller dives between Frankfurt and Cologne. Recorded from scratchy vinyl bought decades ago for too much moolah from ageing hippies who opened beer bottles with their teeth while extolling the virtues of the Mandrake Paddle Steamer or some other long forgotten Psychedelic whackos.

What I find intriguing about Psychdelic music is its unashamed childishness. Nursery rhymes and toy instruments sit comfortably side-by-side with mucho macho electric guitar riffs. There was a brief moment in time between 1966 and 1968 when being playful was cool.

It’s all in the mind or, as the enigmatic D.R. Hooker sings, you forge your own chains. So, break free of the shackles of your mundane existence and take a trip into a world of strange beauty. And remember, there are still boxes full of 60’s records in my attic that were just too weird for Volume 1 plus the demented offerings from 2nd and 3rd generation Psych heads who tried to emulate their heroes. Needless to say that The Return Of 10-Speed Psychedelic Racer is already in the planning.

For all you collectors and any other interested souls out there, here is the full track listing for the Psychedelic Racer mix:

Teddy & His Patches ‘Suzy Creamcheese’ - the archetypical California garage band
John’ Children ‘Smashed! Blocked!’ - the UK band later launched the career of a certain Marc Bolan
Painted Faces ‘Anxious Colour’ - the Painted Faces just crawled out of a Florida swamp before recording this
Fire ‘My Father’s Name Is Dad’ - legendary UK Psych pioneers
The Creation ‘Makin’ Time’ - this is why Alan McGee called his wee label ‘Creation’, Oasis make way
The Who ‘Disguises’ - yes, The Who full-heartedly embraced Psych for a brief period between ‘My Generation’ and ‘Tommy’..
Stereo Shoestrings ‘On The Road South’ - From 1966 to ‘67, Texas was the capital of gratuitiously distorted fuzz guitar - see also 13th Floor Elevators below
Mystic Tide ‘Psychedelic Journey Pt.1′ - Mystic Tide from Long Island had already gone far down the Psych path by 1966!
Om ‘Pilgrimage (Reprise)’ - US Post-Metal band goes Psychedelic in 2007..
Vashti Bunyan ‘I Want To Be Alone’ - not strictly Psych, but this Brit Folk singer hits the vibe
D.R. Hooker ‘Forge Your Own Chains’ - mysterious Connecticut late-comer from 1972
The Haunted ‘Message To Pretty’ - Canada’s finest Psych export goes all moody
The Electric Prunes ‘Wind Up Toys’ - West Coast studio madness at its surreal best
Felius Andromeda ‘Meditation’ - black magic tragically failed to deliver a hit..
The Syn ‘14 Hour Technicolour Dream’ - an ode to the legendary Psych festival at London’s Alexandra Palace on 29/04/1967
The Misunderstood ‘I Can Take You To The Sun’ - Californian exiles in London recorded this stone cold classic - John Peel’s #3 record of 1966
Mandrake Paddle Steamer ‘Strange Walking Man’ - rare one-off single by UK studio band
Factory ‘Path Through The Forest’ - heavy, heavy one off by obscure UK band who tried out for the venerable MGM label with this one
13th Floor Elevators ‘Reverberation (Doubt)’ - From October 1966 but fresh as a just opened bottle of Mac’s Hop Rocker - Texas madman Roky (sic) Ericsson’s legendary band imploded not that long after..

DVA paints a panoramic widescreen vision on ‘Pretty Ugly’, weaving in elements of Grime, House, Techno, UK Funky and a few shards of R&B. Before you can dwell for too long on any particular detail the wagons have already rolled on. Who cares if there is a promised land at the end of the trail when the journey is this much fun?

Seven totally different singers add technicolour to DVA’s gritty production: Fatima, Zaki Ibrahim, Cornelia, Natalie Maddix, Vikter Duplaix, A.L. and Muhsinah. DVA’s cast of six leading ladies - and Duplaix as the one lone gun slinger - give ‘Pretty Ugly’ plenty of character. From Zaki (the diva) to Fatima (the soulful one) to Vikter (the smooth operator) to Cornelia (the maverick) - These are intense performances which go well beyond the usual ‘featured artist’ cameos.

Five instrumentals add more moody atmosphere to the seven vocal tracks. DVA uses a broad range of styles, from the tense Detroit Techno flavoured ‘Polyphonic Dreams’ - Think Carl Craig’s Innerzone Orchestra plays UK Funky - to the haunting funeral march theme on the closing track ‘Where I Belong’.

In a nutshell, DVA delivers a well crafted debut which makes the most of its strong cast of vocalists. Repeated listening will show whether ‘Pretty Ugly’ will age into an accomplished snapshot of its time or whether it can transcend its genre references and become a future classic.

‘Pretty Ugly’ is due out on 9 March 2012 on Kode 9’s Hyperdub label. The launch party for the album is scheduled for 16 March at Fabric in London.

You can listen to Scratcha DVA’s ‘Grimey Breakfast Show’ Mondays to Fridays from 8am to 11am on Rinse FM - Or tune into 106.8 FM if you find yourself in London.

Now pick up this groove and play ‘First Wave’ by Daniel Martin-McCormick, aka Ital. Microscopic melodic and percussive patterns swirl slowly around a stoical bass line. ‘First Wave’ is a 10:23 minutes journey between dreaming and waking with its multiple layers moving at mellow speed.

‘First Wave’ is featured on ‘Hive Mind’, Ital’s debut album on UK indie Planet Mu. ‘Hive Mind’ presents five long, leisurely evolving tracks. ‘Doesn’t Matter (If You Love Him)’ starts off with a disorientingly cut-up, stuttering vocal sample like Laurie Anderson on steroids. ‘Floridian Void’ is the shortest track on the album, under 4 minutes, and creates a ghostly empty space devoid of rhythm before ‘Privacy Settings’ and ‘Israel’ begin a hypnotic slow jam - weighing in at over 10 minutes each. Check out the percussion break on ‘Israel’ between 7:13 and 8:17!

Daniel Martin-McCormick began his musical career as guitarist in the Washington DC hardcore band Black Eyes, which lasted from 2001-2004. Black Eyes were legendary for the wall of sound which emanated from their strictly symmetrical formation: Two drummers, two bass players and a guitarist in the middle.

Black Eyes legacy gives Ital’s music a different twist to many other electronic artists. The massive sound of a live band with two drummers and three amps turned up to full volume is mirrored in the dense soundscapes Ital creates on ‘Hive’. The symmetry of his former band’s interaction between instruments has found its way into how Ital lets different sounds call and answer to each other rather than rattling along in isolation.

‘Hive Mind’ is a refreshing take on discoid electronic music. The album is due out on Planet Mu with the catalogue number ZIQ312 on 13 February 2012. You can pre-listen to ‘Hive Mind’ here.

On a different note, our photo of Ital carries a ‘censored’ banner to draw attention to SOPA Blackout Day (18th Jan 2012) - an initiative that aims to educate about proposed US law changes which will likely bring sweeping censorship to the web and threaten to throw us back into the Dark Ages - Both technologically and philosophically speaking. Act now to preserve freedom of expression on the web.

There are a lot of Americana references in this opening paragraph alone, so you’ll have an idea what Walters and Parrott sound like. If Jonathan Richman and his Modern Lovers plundered the 1950’s canon of pop music to create their brand of naive ‘n’ roll, Loves It are digging deeper, right into a veritable drug store stuffed to the rafters with 1930’s Blues, Appalachian hollers and Dustbowl ballads.

But ‘Yay!’ is more than a musician’s trip down a potholed memory lane. Loves It are a spunky duo of working musicians who each used to play 150-200 gigs a year and bring a high octane attitude to everything they play from punk rock to honky tonk. Once their paths crossed and in between watching episodes of glamour girl Paris Hilton’s awful reality TV show - ‘Loves It’ was Paris and co-star Nicole Ritchie’s catchphrase - the two hatched plans for recording an album together.

They also fell into the ‘big hole of love’, as Parrott jokingly explains, and it’s the buzz of being a new-ish couple that adds its unmistakable sparkle to ‘Yay!’. In fact, one of the most touching songs on the album, ‘Macomber’, has Parrott reminiscing about all the little things you think or worry about when meeting your lover’s family for the first time. It’s a very intimate song, as Parrott brings us on the journey as she drifts back to a porch in Macomber, West Virginia.

Right at the other end of the spectrum is ‘Dinosaurs’, a raucous, fun-packed rollercoaster ride that includes the immortal couplet ‘I’m going extinct like a dinosaur - If you come knocking there won’t be no-one to answer the door’. Oh yay, ‘going extinct like a dinosaur’ is definitely my catchphrase of the year.

If you think that’s just too plain silly, then brace yourself for the sombre ‘Trouble Lord’, a soulful gospel ballad that’ll make the hairs at the back of your neck stand up. Just goes to show that Loves It got soul.

The album ‘Yay!’ is out now. Get it, play it and put a smile on your face.

Listen here to Loves It singing about ‘Bobby Kennedy’
Download audio file (Loves-It-Bobby-Kennedy.mp3)

Listen to Loves It playing ‘My So Called Life’
Download audio file (Loves-It-My-So-Called-Life.mp3)

“I was raised on 80’s Billboard hits,” says Mikael. “Belinda Carlisle was a childhood favorite, along with Whitney, Mariah, and Madonna. I’m sure that influences my melodies and hooks.” Mikael’s sure done some editing down of these queens of the pompous pop sound with the resulting originals possessing a folky earthyness and a simple, clean edge.

A good pop hook played plain and simple makes songs like ‘3ft From Gold’ and ‘Canada (We’ll Never Know)’ stand out from the regular singer-songwriter crowd. Mikael’s guitar playing may be obviously folk tinged, but she does not take refuge in jangly fillers or cliches. Her new EP ‘Rush’ showcases a confident writer who can combine catchy tunes with engagingly worded lyrics.

A closet songwriter since high school, Mikael only recently hit the stage. She juggled a day job and singing background vocals for Portland, Oregon, folk band The River Empires for two years, touring and recording with the band. Lead singer Jessy Ribordy liked Mikael’s own songs and offered to produce an EP of her material. The ‘Far Field’ EP came out in March 2010 and sold enough to pique Mikael’s curiosity as to whether life as a musician could be a real option.

Her experience touring with the River Empires and promoting ‘Far Field’ encouraged Mikael to quit her office job less than twelve months ago and to go solo. Luckily, her first serious DIY tour as a solo artist prooved successful enough to support her. Booked and promoted strictly the DIY way by Mikael and a friend, the tour grew to 70 gigs over a period of six months. The money from the gigs and CD sales from the stage after the shows prooved sufficient to bankroll the trip and a modest lifestyle. What more do I need, mused Mikael and took the plunge leaving paid employment for good.

Mikael moved from Portland to the muscial melting pot of Nashville in January of this year and is currently working on a full length album. Nothing is certain in music, but Mikael enjoys her newfound freedom too much to worry about her future. “I still have no idea what I’m doing, but it’s been a fun ride.”

Sharaya Mikael’s ‘Rush’ EP is due out on 15 November.

Watch Sharaya Singing ‘Canada (We’ll Never Know)’

Listen here to ‘3ft From Gold’
Download audio file (Sharaya-Mikael-3-Ft-From-Gold-Live.mp3)

Where part one of ‘Bedroom Stories’ used New Wave references from the 70’s and 80’s to create a coolly detached atmosphere, Marie pushes the music further into a polar landscapes of sound ringing with brittle, angular guitar stabs. We are entering a stark, ever so slightly threatening place lit up by fleeting moments of beauty.

If pop culture history is your thing, then ‘Bedroom Stories Pt.2′ continues Marie’s musical journey into the mid-80’s of the icy romantic imagery of bands like The Cocteau Twins and This Mortal Coil. Producers Rob Spectrum and Oisin Lunny, both no strangers to 80’s music, capture the sound spot on.

It’s the most logical step on from the edgy, world weary Marianne Faithful sound Marie captured on part one. Listening to ‘Bedroom Stories’ so far, the music moves neatly on this imaginary timeline from the late 70’s through the mid 80’s to - what next?

Considering that part three of ‘Bedroom Stories’ is mooted to deal with love for the person you turned out to be yourself, I could see a move to the early/mid 90’s sound of Felt. Yet more introspective to the degree of slipping into the obscure but with a firm grip on melody and slinky rhythms. Yep, Creation period Felt driven by exuberant hammond organ or languidly rolling along the ivories of a concert piano sound like a reasonable choice for the third and final part of ‘Bedroom Stories’.

Meanwhile, immerse yourself in ‘Don’t Give Up’, ‘This World’ and ‘Mirrors’ on the second instalment of Marie’s album.

‘Bedroom Stories Part 2′ by Marie Glad is out now and available on the iTunes store .

Watch Marie’s Video For ‘This World’

To get this working, Kuedo - aka Jamie Teasdale of proto-Dubstep duo Vex’d - changed his production methods and went back to basics. ‘Severant’ was recorded deliberately quick and dirty to tap into Jamie’s intuition, his subconsciousness. Kuedo sounds like a 70’s garage band compared to your average contemporary production job. We are right back to Robert Rental and Thomas Leer recording ‘The Bridge’ on a borrowed reel-to-reel recorder in the kitchen.

The notes that aren’t there, the gaps and the glitches - They all contribute to a dreamlike atmosphere that is a common theme among the cream of late 70’s, early 80’s electronic music but hard to replicate today. These songs are proud to sound artifical because they want to break with real world humdrum and explore fantasy.’Severant’ is a decent stab at making such a record today, in 2011.

Fantasy and its love child futurism are the main topics of ‘Severant’. For Kuedo, futurism is not only the technological optimism of Vangelis but also the forward looking destroy-all-bridges fervour of Chicago’s Footworking scene and its radical rhythms. And fantasy comes in many forms, not only the futuristic pipe dream but the ambivalent attitude to reality expressed in the boasts of coke rap MCs.

‘Severant’ is also quite theatrical in a way that continues the tradition of 70’s bands like Tuxedomoon or The Residents, who came from a performance art background. Kuedo paints a palette of moods in his songs as you would score a stage play or a movie. Songs are just fleeting impressions: From the industrial ‘Ant City’ to the darkly romantic ‘Shutter Light Girl’ to the soothing closer ‘Memory Rain’.

Whether you are a fan of 70’s electronica, are feeling nostalgic for 1980’s New Wave or simply want an ambient soundtrack that sounds different to the usual fare, ‘Severant’ deserves your attention.

Kuedo’s debut album ‘Severant’ is due to be released by UK indie Planet Mu on Monday, October 17th. The vinyl format comes with free digital downlode code.

To order or to listen to a preview of ‘Severant’, please click here.