Ninja Tune

A Winged Victory For The Sullen “The Undivided Five” (Ninja Tune)

2020-03-07T06:57:39+00:00November 15th, 2019|

Dustin O’Halloran and Adam Wiltzie make a bold return as A Winged Victory For The Sullen on their new album The Undivided Five. On The Undivided Five they rekindle their unique partnership for only their second piece of original music outside of film, TV and stage commissions, creating an album that channels ritual, higher powers and unspoken creative energies producing bold new work built on their foundations in ambient and neoclassical.
Their fifth release (following their debut album, two scores and an EP), they embraced the serendipitous role of the number five, inspired by artist Hilma af Klint and the recurrence of the perfect fifth chord.
The album was also shaped by the breadth of locations in which it was created, helping to shape its nuanced sonics. In addition to O’Halloran and Wiltzie’s respective Berlin and Brussels studios, the record took shape across six different sites. They recorded orchestral samples in Budapest’s Magyar Rádió Studio 22, re-recorded album parts in Brussels’ Eglise Du Beguinage’s unique, reverb-heavy surrounds (where Wiltzie has performed with Stars of the Lid and, in 2018, organised a tribute concert for Jóhann Jóhannsson), experimented with overdubs in Ben Frost’s Reykjavik studio, and recorded grand piano parts in a remote woodland studio in northern Italy. The duo pay close attention to the micro-level of sound, and each of these places was chosen for the qualities which could enrich the finished product. And it’s in Francesco Donadello’s studio in Berlin, where all of the previous AWVFTS material has been mixed, that the album was run through the studio’s analog board, binding the record’s different parts together.
The album is their debut for Ninja Tune, and comes as change is underway for O’Halloran, moving from Berlin – hence the title of Keep It Dark, Deutschland – after a decade in the German capital. He’s headed to Iceland, the country where the pair shot their latest press photos and which is an important locale for both of them. The wide-spanning connections which have shaped the record are testament to their deep roots as artists. This album’s powerful energy is driven by the deep-rooted bond between them.

Floating Points “Crush” (Ninja Tune)

2020-03-07T06:59:04+00:00October 18th, 2019|

Sam Shepherd aka Floating Points has announced his new album Crush will be released on 18 October on Ninja Tune. Along with the announcement he has shared new track ‘Last Bloom’ along with accompanying video by Hamill Industries and announced details of a new live show with dates including London’s Printworks, his biggest headline live show to date.

Fresh from the release earlier this year of his compilation of lambent, analogous ambient and atmospheric music for the esteemed Late Night Tales compilation series, Floating Points’ first album in four years, Crush, twists whatever you think you know about him on its head again. A tempestuous blast of electronic experimentalism whose title alludes to the pressure-cooker of the current environment we find ourselves in. As a result, Shepherd has made some of his heaviest, most propulsive tracks yet, nodding to the UK bass scene he emerged from in the late 2000s, such as the dystopian low-end bounce of previously shared striking lead single ‘LesAlpx’ (Pitchfork’s ‘Best New Track’), but there are also some of his most expressive songs on Crush: his signature melancholia is there in the album’s sublime mellower moments or in the Buchla synthesizer, whose eerie modulation haunts the album.

Whereas Elaenia was a five-year process, Crush was made during an intense five-week period, inspired by the invigorating improvisation of his shows supporting The xx in 2017. He had just finished touring with his own live ensemble, culminating in a Coachella appearance, when he suddenly became a one-man band, just him and his trusty Buchla opening up for half an hour every night. He thought what he’d come out with would “be really melodic and slow- building” to suit the mood of the headliners, but what he ended up playing was “some of the most obtuse and aggressive music I’ve ever made, in front of 20,000 people every night,” he says. “It was liberating.”

Today’s newly announced live solo shows capture that energy too, so that the audience can see that what they’re watching isn’t just someone pressing play. Once again Shepherd has teamed up with Hamill Industries, the duo who brought their ground-breaking reactive laser technologies to his previous tours. Their vision is to create a constant dialogue between the music and the visuals. This time their visuals will zoom in on the natural world, where landscapes are responsive to the music and flowers or rainbow swirls of bubbles might move and morph to the kick of the bass drum. What you see on the screen behind Shepherd might “look like a cosmos of colour going on,” says Shepherd, “but it’s actually a tiny bubble with a macro lens on it being moved by frequencies by my Buchla,” which was also the process by which the LP artwork was made.” It means, he adds, “putting a lot of Fairy Liquid on our tour rider”.

Artists: 
Record Label: 

Jayda G “Significant Changes Remixes” (Ninja Tune)

2019-08-16T03:43:05+00:00August 16th, 2019|

Announced today alongside a thumping remix from Honey Dijon, who takes on Jayda’s light-hearted ode to the dancefloor – ‘Stanley’s Get Down (No Parking on the DF)’ – with Jayda’s tongue-in-cheek scorn “Hey you! I see you, with your phone, looking at Instagram” admonishing those people who stand motionless in the front row at her gigs: “This is the dancefloor baby, this is where you’re supposed to get down”. Talking about the remix, Dijon says “It was so much fun remixing an artist who has a clear understanding and respect for the foundation of dance music heritage and culture.”

The EP is completed by Dâm-Funk’s “Re-Freak” of ‘Move To The Front’ and a remix from DJ Fett Burger of ‘Missy Knows What’s Up’. All three tracks plus a Honey Dijon instrumental will be released on 19th July on 12”/Digital.

Jayda G’s debut album “Significant Changes” was met with praise from the likes of The Guardian – who have already proclaimed it one of their top albums of 2019 to date, Mixmag – who made Jayda their April ‘cover star’, and publications such as Pitchfork, Dazed, Crack, NME and many more. Known for her prolific, high-energy performances as a DJ, she followed up an Essential Mix on BBC Radio 1 with a stint on the R1 Residency, and has toured relentlessly throughout 2019, taking in shows across 12 countries including performances at Primavera Sound, Kala and Lente Kabinet (Dekmantel’s sister event), with shows still to come at this year’s Glastonbury, Lovebox and Dimensions festivals. She returns for a run of North American shows in June & July including Brooklyn Mirage on 28th June and El Cid in Los Angeles on 6th July.

Artists: 
Record Label: 
Genre: 

Floating Points “LesAlpx” (Ninja Tune)

2019-07-18T23:14:43+00:00July 18th, 2019|

Sam Shepherd aka Floating Points has today shared his first new track since 2017 in the form of ‘LesAlpx’, the A-side of a new 12″ vinyl coming 12th July. Shepherd plays a string of live and DJ dates taking place in summer/autumn this year including an all day set at London’s Fabric.

‘LesAlpx’ arrives as the next step in a career that has positioned Shepherd as one of electronic music’s most surprising, innovative and uncompromising artists. The track’s undeniable groove recalls breakout tracks like ‘Nuits Sonores’ which took over dancefloors around the world while simultaneously driving forward with the sophisticated craftsmanship and depth of production that has gained Floating Points respect far beyond the clubbing community.

Speaking of the track Shepherd says:

“I started going back to my early records and all the sounds I loved playing at clubs like Fabric and Plastic People. I wanted to capture the immediacy of that music and the feeling that I got when I was on the dancefloor, of being immersed in a track that pulls you along instantly. I actually made these tracks quite quickly, which helped to get rid of any desire to overthink the music – it’s essentially the sound of me having loads of fun with the machines in my studio and going back to basics.”

Shepherd’s 2015 debut album Elaenia was critically adored, proving the depth of his influences and skill in drawing on them whilst being utterly singular. Elaenia was awarded ‘Album of The Year’ at Resident Advisor and featured on many additional best of the year lists including Pitchfork, who named it ‘Best New Music’ with a 8.4 review, Mixmag and The Guardian who gave it a rare 5/5. Since then Shepherd has continued to explore his sound with other notable releases including his short film and soundtrack Reflections – Mojave Desert and 2017 single ‘Ratio’ which was Annie Mac’s Hottest Record In The World.

Following the success of Elaenia, Floating Points sold out headline shows at London’s Islington Assembly Hall and two nights at Electric Brixton, since then he has gone on to take his live shows to the biggest venues and festivals the world has to offer. As his live show continues to evolve, Floating Points maintains a reputation as an exceptional curator and global DJ. This was solidified earlier this year with his Late Night Tales compilation which received widespread praise.

Artists: 
Record Label: 
Genre: 

Jayda G “Significant Changes” (Ninja Tune)

2019-04-19T02:17:55+00:00April 19th, 2019|

Jayda G will release her debut album “Significant Changes” via Ninja Tune. Musically it’s a blend of vintage drum machine funk drawing heavily on Chicago’s house blueprint – as evidenced by new single ‘Leave Room 2 Breathe’ featuring vocals by life-long friend and frequent collaborator Alexa Dash.

The album is a natural progression from a string of EPs both solo and alongside her friend and mentor DJ Fett Burger (Sex Tags Mania), often appearing on the Freakout Cult label the two ran jointly until 2018 and most recently her newly minted JMG Recordings imprint. Also renowned for her high-energy performances as a DJ, the past 12 months have seen Jayda play London’s formidable Printworks venue alongside the likes of Marcellus Pittman, Moodymann and Omar-S; be invited by The Black Madonna to play at her Warehouse Project takeover; and perform at festivals like Field Day, Kala, Melt!, AVA and the xx’s Night And Day.

Growing up some 6 hours outside Vancouver surrounded by an abundance of nature sparked an early interest in biology and the natural world, a passion that has endured and intensified to this day and is inextricably intertwined with her musical output. In 2018 she completed her Masters in Resource and Environmental Management specialising in environmental toxicology, wherein she investigated the effects of human activity on the Salish Sea killer whales (orcas) of Vancouver, in her native British Columbia. It was also the year that she finished recording her debut album as Jayda G: “Significant Changes”. The title of the album was the most used phrase in her final thesis and exemplifies how intertwined her work in science is with her work in music. “I’m trying to bring my two worlds together… to bridge the communication gap, engage people in a new way”, she explains. “I don’t know if people in the electronic music world will want to talk about the environment but I think I should try! I think it’s our duty to use a platform like this in a positive way, that’s our social responsibility.”

Artists: 
Record Label: 

The Cinematic Orchestra “To Believe” (Ninja Tune)

2019-03-15T03:59:00+00:00March 15th, 2019|

The Cinematic Orchestra are back with a definitive new album that explores a timeless question of vital importance in 2019 – what to believe? Founding member Jason Swinscoe and longtime partner Dominic Smith have enlisted album contributions from collaborators old and new: Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend (vocalist on Bonobo’s First Fires), Dorian Concept and Tawiah (Mark Ronson, Kindness). Miguel Atwood-Ferguson (Flying Lotus, Anderson Paak, Thundercat, Hiatus Kaiyote) features on strings and photographer and visual artist Brian “B+” Cross collaborated with Swinscoe and Smith on the album’s concept. The record was mixed by multiple Grammy winner Tom Elmhirst (David Bowie, Frank Ocean, Adele) in Jimi Hendrix’s legendary Electric Lady Studios. The album artwork comes courtesy of The Designers Republic (Aphex Twin).
In 2019 it is easy to see the band’s influence, jazz is all around us, London and LA have recently produced scenes more prolific than anyone expected; Kamasi Washington has been nominated for both Grammy and Brit Awards, Sons Of Kemet a Mercury Prize, BADBADNOTGOOD provide jazz soundtracks to high fashion shows and Kendrick Lamar has put the jazz palette at the top of the charts. When The Cinematic Orchestra released their critically acclaimed debut album Motion it helped pave the way for this moment, incorporating as it did an interpretation that had been lacking in the oeuvre and encouraging a new generation of musicians to break rules. To Believe doesn’t shy away from this ethos – its articulation of the band’s unique sonic language, encompassing not only jazz but the sort of transcendental orchestration combined with the elegant electronics of artists like Ólafur Arnalds and Floating Points, artists they have helped forge a path for, has never been more cohesive and compelling.

Record Label: 
Genre: 

Actress x London Contemporary Orchestra “Lageos” (Ninja Tune)

2018-08-10T17:17:26+00:00August 10th, 2018|

Following the release of the ’Audio Track 5’ EP and live performances at the Strelka Institute (Moscow), Barbican Centre and Tate Tanks (London), electronic producer and musician Darren Cunningham AKA Actress and the London Contemporary Orchestra (LCO) are to release a full album of their collaboration on Ninja Tune entitled ‘LAGEOS’.

Originally performed at the Barbican in February 2016, the project was curated by Boiler Room and LCO with support from Arts Council England and Ninja Tune. The music created a synergy between both live electronic and acoustic components, not just in the harmonies but in the way the traditional instruments were spliced into new hybrid instruments. As part of the process, Actress and LCO augmented traditional piano and created sounds from objects as varied as temple bowls and plastic bags. The show, a massive sell-out success, eventually lead to the release of this much anticipated album.

For the album, LCO recorded the individual instrumental parts as stems at Spitfire Studio then sent to Actress to manipulate, in turn delivering some truly unique new pieces. LCO also went on to reinterpret Actress classics ‘Hubble’ and ’N.E.W’ among others from his catalogue.

Record Label: 
Genre: 

Leon Vynehall “Nothing Is Still” (Ninja Tune)

2018-06-28T23:25:07+00:00June 28th, 2018|

“Vynehall has released two extended EP’s so far, his 2014 breakthrough Music For The Uninvited (3024) – a record inspired by the funk, soul and hip-hop tapes his mum used to play on car journeys which finished the year on a plethora of ‘Best of the Year’ lists including Pitchfork, FACT and Resident Advisor who called it “one of the most eclectic and rewarding house records you’ll hear all year” – and 2016’s Rojus EP (Running Back) which saw Vynehall building more layers and broadening the depth of his music to widespread critical acclaim including DJ Mag’s ‘Album of the Year’ and ‘Best New Music’ from Pitchfork for fan favourite single ‘Blush’. On both, he was crafting luscious grooves that were destined to dominate dancefloors. Nothing Is Still however, is defiantly atmospheric and textural, and finds him harnessing his passion for early contemporary minimalist composers such as Gavin Bryars as well as records like Philip Glass’ Koyaanisqatsi and Terry Riley’s A Rainbow In Curved Air.

Written and predominantly performed by Vynehall with additional musicians including a ten-piece string section arranged by Amy Langley, Finn Peters (saxophone and flute), and Sam Beste (piano) whom completed the final recording sessions that took place at Konk Studio’s – Nothing Is Still was mixed by Blue May in London before making its own transatlantic flight to New York, where it was mastered at Sterling Sound by Greg Calbi.”

Artists: 
Record Label: 
Genre: 

Peggy Gou “Once” (Ninja Tune)

2018-04-12T23:02:49+00:00April 12th, 2018|

Laying solid foundations in the underground through 2016 and 2017. Peggy Gou is poised to blow up in 2018. In April she will make her debut at the 2018 Coachella Valley Music and Arts Festival in California. but she is kicking off the year in impeccable style with a Resident Advisor Podcast. closing her mix with stunning new single ‘It Makes You Forget (Itgehane)’ lifted from her forthcoming EP “Once” for Ninja Tune
Artists: 
Record Label: 
Genre: 

Young Fathers “Cocoa Sugar” (Ninja Tune)

2018-03-16T00:42:54+00:00March 6th, 2018|

In November 2017, Young Fathers announced that they’d completed work on a new album. The trio – Alloysious Massaquoi, Graham ‘G’ Hastings and Kayus Bankole – marked the news by previewing a brand new song, ‘Lord’ and a subsequent accompanying video. Just like their previous standalone 2017 single ‘Only God Knows’ (written for the Trainspotting T2 film and described by director Danny Boyle as “the heartbeat of the film”), ‘Lord’ provided an enticing glimpse of what to expect from Young Fathers’ third full album; something typically unique and exhilarating, but leaner, more muscular and self-assured than ever before.

Titled Cocoa Sugar, the twelve track album will be released on 9th March 2018 via Ninja Tune and follows the group’s previous two albums; 2014’s Mercury Prize-winning DEAD and 2015’s White Men Are Black Men Too. Written and recorded throughout 2017 in the band’s basement studio and HQ, Cocoa Sugar sees Young Fathers operating with a newfound clarity and direction, and is without doubt their most confident and complete statement to date.

Artists: 
Record Label: 
Genre: 

Bug Vs. Earth “Concrete Desert” (Ninja Tune)

2020-03-07T06:26:02+00:00August 20th, 2017|

Vinyl LP pressing, includes bonus 12 inch single. Like master painters exploring a subject over a lifetime’s work, Kevin Martin and Dylan Carlson – The Bug and Earth, respectively – have each been mining and defining their genres for more than 20 years. They’re united by an interest in – really an obsession with – heaviness. They search for, examine and break the boundaries between beautiful and ugly, minimal and maximal, light and dark – but The Bug and Earth always make music that is heavy in the most thrilling of ways. Ninja Tune asked The Bug and Dylan Carlson to perform live in LA around the label’s 25th anniversary, and Martin and Carlson took the opportunity to rekindle The Bug vs Earth project. They holed up in Daddy Kev’s legendary LA studio, with DJ Nobody engineering, for two very long days. Those recording sessions have resulted in the masterpiece that is Concrete Desert. Inspired by J.G. Ballard’s urban dystopias, and the Californian dream capital’s sordid, fragmented underbelly, Martin says that the album is in some ways a Los Angeles-set companion piece to London Zoo.

Artists: 
Record Label: 

Forest Swords “Compassion” (Ninja Tune)

2017-05-20T19:11:27+00:00May 20th, 2017|

Forest Swords, aka acclaimed Merseyside-based producer Matthew Barnes, returns with his eagerly anticipated new full-length record on Ninja Tune. “Compassion” engages with an uncertain world we’re experiencing, distilling it into a unique sound territory: Barnes’ exploration of the mid-point between ecstasy and frustration, artificial and human feels timely and affecting. The result is an assured, compelling body of work, tying together the ancient and future: weaving swathes of buzzing digital textures, field recordings, clattering beats and distorted jazz sax with fizzing orchestral arrangements.

Artists: 
Record Label: 

Actress “AZD” (Ninja Tune)

2017-05-13T21:59:42+00:00May 13th, 2017|

Actress, real name Darren Jordan Cunningham, known to friends as Daz, returns with a new album, now on Ninja Tune and a new music system called AZD (pronounced “Azid”), a chrome aspect journey into a parallel world. An artist who has always preferred to make music than to talk about it, in AZD he has achieved another remarkable landmark, one which is as resistant to interpretation as it is demanding of it. The album is themed around chrome – both as a reflective surface to see the self in, and as something that carves luminous voids out of any color and fine focuses white and black representing the perfect metaphor for the bleakness of life in the Metropolis as suggested by Anish Kapoor’s Cloud Gate. Take lead single, “X22RME” (pronounced “Extreme”) which elegantly plays between the lines of Oriental classic rave and Balinese warehouse Techno machined in a Rotherhithe lock up welding the grooves into a seamless cracked joint. At the other end of the spectrum is “Faure in Chrome,” a byproduct or development from his collaboration with the London Contemporary Orchestra, in which he “repatterns” aspect of Faure’s Requiem into a piece which sounds like the very institution of classical music being encased in electronic ice and scanned through a high frequency bandwidth. In between are gems like “Runner,” a personal re-soundtracking of Blade Runner ” and “Falling Rizlas,” an alienated music-box ballad. It’s a remarkable piece of work, that harks back both to Actress’ previous productions and to earlier iterations of the (broadly conceived) “techno” project without being beholden to anything but Cunningham’s forward-facing, individual and disembodied vision.

Artists: 
Record Label: 
Genre: 

Bonobo “Migration” (Ninja Tune)

2017-01-21T00:09:03+00:00January 21st, 2017|

Following the release of his most successful album to date, 2013’s The North Borders, as well as an even more triumphant world tour, British producer Bonobo (Simon Green) returned in 2017 with his sixth proper studio full-length, Migration. The album was partially inspired by his touring experiences, but also by the death of a relative. Green’s family is spread out across the world, and they all reconvened in Brighton, England for the funeral. These types of experiences cause Green to question what identity means, and where a person is from if he or she is constantly moving. As with all Bonobo recordings, Green absorbs a multitude of cultural influences here, from the underground club sounds of London to American folk songs. Strangely enough, other than “Bambro Koyo Ganda,” a collaboration with New York-based Moroccan group Innov Gnawa, the album somehow sounds less exotic than some of his other releases. This isn’t meant as a complaint, though, as Green has always demonstrated a talent for blending disparate elements into a cohesive sound. As ever, he excels at incorporating acoustic instruments and drums in a manner that makes it difficult to tell if they’re being played live or sampled and chopped up — he devised an algorithm for the drum programming, yet it sounds human rather than computer generated. “Ontario” is built on booming, crackly breakbeats reminiscent of the classic ’90s Ninja Tune sound, but the suspenseful swelling horns and delicate acoustic guitars and Rhodes keyboards take center stage. Other tracks are more club-focused and employ shuffling 2-step rhythms or thumping house beats, but the warm, emotive melodies are what drive the songs. Emotionally, Migration continues down the dusky path of The North Borders. It’s not an outright gloomy or depressing album, but it’s certainly not a carefree, relaxing chill-out record either. Tracks like “Grains” (built around an eerie yet homely Pete Seeger sample) seem world-weary but contemplative and quietly transcendent, and the Brandy-sampling “Kerala” is more outwardly ecstatic. The album ends on a subdued note with “Figures,” which slices up vocal extracts from “Just an Excuse” by Elkie Brooks. House fans will recognize the sample from when Moodymann flipped it for his instant classic “Why Do U Feel” in 2012, but Bonobo’s take is subtle and reflective rather than heart-wrenching, and it feels like it’s approaching the sentiment from a different angle. With Migration, Green blends the unexpected with the familiar and emerges with some of his most affecting work yet.

Artists: 
Record Label: 

The Bug “Angels & Devils” 2xLP (Ninja Tune)

2015-05-10T01:25:26+00:00September 15th, 2014|

With recent reports from various think tanks predicting we have somewhere in the range of 15 years left before the collapse of society begins, it would seem like Kevin Martin’s sonic predictions of dystopian London that were set out on 2008’s London Zoo were pretty accurate. And if we are in fact declining rapidly to chaos, there’s no better time then the present to take the focus of that sonic assault from earthly domains and blast it to the netherworlds above and below.

The aforementioned London Zoo is where Kevin Martin, found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music.

The latest offering from the The Bug, Angels & Devils, escapes the London cage, drawing on it for influence yet blowing it up into a world-view now seen from Kevin Martin’s new Berlin home. A record that simultaneously draws on London Zoo, completes a triptych cycle which started with his Bug debut Pressure, and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie/Eno classic Low, or Can’s Tago Mago, the album is split into two distinct themes and explorations of light & dark. Bringing the angel & devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there’s a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) & Death Grips and make it seamless. Angels & Devils stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path/vision.

With the Angel side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is “Void”. Followed by contributions from ex Hype Wiliams half copeland (“Fall”), the blissed out patois of touring partner Miss Red (“Mi Lost”), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on “Save Me”. It’s a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils…

Devils leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with “The One”. Roll Deep’s Manga steps up next with the instant Bug classic “Function”, which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with “Fuck A Bitch”. Flowdan & Justin Broadrick come back for the cinematic death crawl of “Fat Mac”. Warrior Queen steps in for hands down the nastiest vocal she’s ever delivered (which is saying a lot) for “Fuck You”, and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts “dirty, fuck that murky…”.

The concept is completed by the artistic expression it’s packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings.

-Ninja Tune

Artists: 
Record Label: 
Go to Top