• 10 new albums to look out for in November

    By | November 2, 2018

    This month’s wantlist.

    We’ve combed through the pre-orders, promos and release listings so that you don’t have to, showcasing a diverse selection of music from our favourite artists and labels, alongside newcomers we think you need to hear.

    This month’s selection features virtuoso ’70s fusion updates from Mansur Brown and Eli Keszler, Japanese no wave from Eiko Ishibashi and the return of Anderson .Paak. Ever the international affair, the list is completed by music from Venezuela, Scotland, Berlin and Tunisia.

    North Sea Dialect

    Local Guide


    Listen / Buy

    Due: 9th November

    Enigmatic Scottish producer North Sea Dialect releases his debut LP Local Guide on Numbers – an atmospheric ode to the “power of the sea.” Filled with the “echoes and surrealness of alienated life” the 10-track album’s release is preceded by three videos of found ocean footage that are well worth checking out, ranging from aquatic Baltasounds to serene sunsets to ‘so terrifying you can’t look away’ storms.

    Lia Mice

    The Sampler As A Time Machine

    (Optimo Music)

    Listen / Buy

    Due: 9th November

    An intriguing new album from producer and instrument designer Lia Mice, The Sampler As A Time Machine evokes Holly Herndon’s dystopian Platform or Laurie Anderson’s Big Science in exploring the tension between the human and the electronic. Exemplified by the use of her self-made instruments, which include a voice-controlled, one-handed violin and a reel-to-reel hacked into a digital tape loop, The Sampler As A Time Machine strikes a compelling balance between cold wave, industrial and synthetic pop.


    Cocoon Crush


    Listen / Buy

    Due: 9th November

    Objekt returns to PAN following his Objekt #4 EP – one of our favourite 12″s of 2017 – with his second full-length Cocoon. Described as a move away from a “typical dance floor format” the album’s percussive explorations remind of a more sinister, less zany, Errorsmith-esque approach. Deep basement musings, well suited for the melancholic truce of seasons as winter takes hold.

    Deena Abdelwahed


    (Infiné Music)

    Listen / Buy

    Due: 16th November

    Tunisian producer Deena Abdelwahed fuses acidic electronics with traditional and far-out instrumental experimentations in her debut album, Khonnar. An “untranslatable Tunisian word that evokes the dark, shameful and disturbing side of things” Khonnar paints Arabian visions via the dance floor, and sees Abdelwahed playing everything from Tunisian percussive instrument the bendir (with an ice pick no less) to the trusty 808.

    Powell Tillmans

    Spoken By The Other

    (XL Recordings)

    Listen / Buy

    Due: 16th November

    Turner Prize-winning artist Wolfgang Tillmans and electronic musician Powell team up for their debut record, Spoken By The Other. Its 6 tracks were recorded in Berlin, London and Turin, and workshopped at festivals before transforming into its current iterations. Complete with a finale tune that includes Tillmans knocking out percussion on cutlery and glasses.

    Anderson .Paak


    (Aftermath Entertainment)

    Listen / Buy

    Due: 16th November

    Yes lawd! Anderson .Paak is back with his third solo record, following Malibu and his collaborative 2017 LP with Knxwldge under the name NxWorries. Produced by Dr. Dre, and featuring Kendrick Lamar, Khadja Bonet, Snoop Dogg and Q-Tip, amongst others, we’re hoping Oxnard sounds more like blazing, Bollywood sampling ‘Bubbling’ than its second single ‘Tints’.

    Eiko Ishibashi

    The Dream My Bones Dream

    (Drag City)

    Listen / Buy

    Due: 16th November

    The sixth album by indefatigable Japanese artist Eiko Ishibashi, The Dream My Bones Dream delves into the unknown personal histories of her father, entwined with Japan’s occupation of Manchuria in the 1940s, and delivered with idiosyncratic theatricality. A Lynchian suitcase drama that delivers some of the multi-disciplinary no wave of downtown NYC through a Tokyo haze.

    Insólito UniVerso

    La Candela del Rio

    (Olindo Records)

    Listen / Buy

    Due: 16th November

    A gorgeous debut from Paris-based Venezuelan outfit Insólito UniVerso, drawing on the country’s psychedelic and spiritual folk traditions – best exemplified by the album’s dream-like opening track ‘Transmutada’, which celebrates the legacy of cult Caracas singer, caricaturist and new age guru Conny Mendez. The full-length follows a 7” on Olindo earlier this year, and is co-produced by The Heliocentric’s Malcolm Catto.

    Eli Keszler


    (Shelter Press)

    Listen / Buy

    Due: 16th November

    Fresh from collaborations with Oneohtrix Point Never and Laurel Halo, percussionist Eli Keszler delivers the intricately woven album Stadium as a 2xLP black vinyl edition this month. Stepping dextrously between free improvisation and composition, Keszler’s crisp syncopations play like stung-out Tony Williams solos that skit restlessly over sparse electronics. Virtuoso throughout, it’s in distorted ballads ‘Lotus Awnings’ and ‘Which Swarms Around It’ where the most compelling moments of Stadium are to be found.

    Mansur Brown


    (Black Focus)

    Listen / Buy

    Due: 22nd November

    Guitarist Mansur Brown’s much-anticipated debut Shiroi on Kamaal Williams’ Black Focus gets its vinyl release this month. Like Keszler, Brown takes the bombastic legacy of ‘70s jazz fusion and twists it into something personal and deeply introverted. Like eavesdropping on a late-night session, Shiroi is an insight into Brown’s undeniable talent as a guitarist, with subtle touches of Vini Reilly’s ‘Otis’, Blaxploitation funk and Brainfeeder-esque robot jazz providing the unexpected turns throughout.

  • Objekt to release new album Cocoon Crush on double vinyl

    By | September 17, 2018

    The producer returns to PAN for his second LP.

    Objekt has announced his sophomore album Cocoon Crush, which will be released on 9th November via Berlin label PAN.

    The LP marks a movement away from the producer’s more club-focused work, as murky synth passages, foley collages, organic textures and head-crushing percussion make for a more introspective, sometimes claustrophobic, album.

    The release follows last year’s Objekt #4 EP (one of our top 3 favourite 12″s of 2017), the fourth instalment in his exceptional white label series, and is his second full-length release for PAN, following his 2014 album Flatland.

    Cocoon Crush will be available on CD, double LP and digitally on November 9 via PAN, and is available to preorder now. Check out the cover art and tracklist below.


    01. ‘Lost and Found (Lost Mix)’
    02. ‘Dazzle Anew’
    03. ‘35′
    04. ‘Nervous Silk’
    05. ‘Deadlock’
    06. ‘Rest Yr Troubles Over Me’
    07. ‘Silica’
    08. ‘Runaway’
    09. ‘Secret Snake’
    10. ‘Another Knot’
    11. ‘Lost and Found (Found Mix)’

    Portrait and cover artwork by Kasia Zacharko

  • The best of Crate Diggers 2017

    By | December 25, 2017

    Inside the record collections of our favourite DJs, producers and musicians.

    For those of you who are new to this, Crate Diggers is our monthly series taking you inside the record rooms of some of our favourite artists.

    Using their records as a starting point, these in-depth interviews hope to tell a more intimate story of their lives in music, from childhood experiences to formative records and recent discoveries.

    From New York, London and Berlin to rural Austria and Norway, we spent the year tracking down these global collections and sharing a little of the magic held within.

    Scroll down to re-cap or discover interviews you may have missed over the course of the year.

    Mats Gustafsson

    Self-taught free jazz heavyweight and self-confessed Discaholic Mats Gustafsson has one of the most fabled record collections in Europe.

    From his ‘vinyl cave’ in rural Austria, the saxophonist runs a global trade ring through his Discaholic website, trading four-digit rarities with the likes of Thurston Moore and Sunn O)))’s Stephen O’Malley.

    And when he can’t find someone to trade with, Gustafsson has been know to travel across the continent to play solo concerts in exchange for rare records.

    Buying free jazz since he was 12, Gustafsson was schooled in punk and retains a DIY attitude to this day. A saxophonist known for his ferocious style, he’s one of the most important free improvisors of his generation, playing with the likes of Barry Guy, Evan Parker, Jim O’Rourke and Sonic Youth or fronting his own projects like The Thing, whose 2012 collaboration with Neneh Cherry spanned an extraordinary wealth of influence.

    For this first Crate Diggers of 2017, Gustafsson gave us rare access to his custom-built two-and-a-half tonne vinyl cave.

    Read it here.

    Sofie Fatouretchi

    Born in Palo Alto, California, Sofie was raised on Iranian cassettes, classical records and The Electric Light Orchestra. She moved around the States a lot in her childhood years before relocating to Vienna to study at a music conservatory in her teens.

    After cold mailing Peanut Butter Wolf, she landed an internship at Stones Throw and quickly became one of family. She’s also a Boiler Room original, a relationship which kicked off with their first West Coast broadcast which lined up Dam-Funk, J Rocc, Wolf and Sofie herself.

    Sofie’s record collection is concise and personal, with sections for gifts and releases from friends, as well as shelves for classics, 12″s, soundtracks and Eastern European pysch. Sitting in her newly configured apartment, she spoke to us about her new Stones Throw compilation, record stores in Vienna and digging for Cyrillic vinyl with Primo.

    Read it here.


    Following his debut album Flatland on PAN, TJ Hertz aka Objekt dropped ‘Objekt #4’ earlier this year, the latest in his club-focused white-label series that kicked off back in 2011, and one of our favourite 12″s of this year.

    The record is a tribute to the now-shuttered Basement Q, a beloved haunt in Berlin’s Schöneberg ‘hood “which quietly but profoundly shaped the musical identities of Hertz and several of his contemporaries.”

    You don’t have to spend long in Hertz’s record collection to see how committed he is to the art of DJing. One of the most functional, working collections we’ve experienced, it’s pure-fire house, techno and electro here, all united by a sense of “rhythmic propulsion.”

    Yes, you might find a smidgen of African folk or the odd blues compilation but for Hertz, it’s not about owning prized objects but rather, symbiosis of sounds.

    From his Autechre worship phase to the digi-dub 7″ he bought the day before our interiew, Objekt unlocked his record collection for VF Crate Diggers.

    Read it here.


    “Because Africa is mother of beat, and beat is tempo. May your hearts beat on our tempo and steps groove with our flow. On an acid trip around Afro rhythms, travelling from Nigeria, Ethiopia, Congo to Ghana, cruising on electronic sounds, cosmic rhythmics and psychedelic vibrations.” If those words doesn’t pique your interest, then African Acid probably is not for you.

    Casually set up a few years ago by Maryama Luccioni aka Maryisonacid in a smokey Neukölln bar, the night has since racked up a dedicated following in a city dominated by techno. The music policy is broad, running from deep Ethio-jazz and Congolese wedding anthems to synthesizer pop, ska, reggae, rocksteady and more.

    Surrounded by plants and flowers, we sat down with Maryama ahead of her set at The Vinyl Factory’s British Pavilion launch party at the Venice Biennale earlier this year, to talk Hailu Mergia, reissue culture, and digging amongst the dead in Corsica.

    Read it here.

    Joe Goddard

    When Joe Goddard takes the stage at Prince Charles, an intimate dance venue in Berlin’s Kreuzberg neighbourhood, he seems almost sheepish, crouching behind his keyboard on the side of the stage. It’s the same position he assumes when performing with Hot Chip, his band of 15 years, but on those occasions he’s surrounded by his four bandmates, his mellowness contrasting with the dance party encircling him.

    Tonight though, it’s just Joe, and it’s almost crazy to think that this soft-spoken man is responsible for some of the most indelible dance-pop of the last decade—but when he begins to play, and the crowd begins to sway with the beat, everything falls into place and within minutes, the whole dancefloor is a writhing, sweaty mess. Like any good dance musician, Joe hold his audience in the palm of his hand from the get-go, which is even more of an accomplishment here since he’s exclusively playing songs from his new solo record, the sharp and effervescent Electric Lines.

    While Hot Chip are a band that have always been the sum of their parts, Electric Lines lays bare Joe’s immense contribution to the band’s success—as their principle composer, the album is a deeper exploration of the kind of disco, house, electro and pop tracks that are such a huge influence on Hot Chip’s sound. Tracks like the genre-pushing lead single ‘Home’ which marries a massively joyous ’70s funk sample from the Detroit band Brainstorm with a throwback to the days of the Paradise Garage, are a testament both to Joe’s encyclopaedic knowledge of dance music, and his ability to never let his finger off the pulse.

    A few weeks after the Berlin show, we caught up with Joe in his London home, where he took us through his notoriously gigantic and jumbled home record collection. He touched upon everything from classic disco, to Japanese indie rock, to the enduring legacy of ‘Straight Up’ by Paula Abdul.

    Read it here.

    Leo Mas

    If you were lucky enough to be at Amnesia in Ibiza in the late ’80s, chances are you limbered up to the sound of Leo Mas. Between ’85 and ’88, he and Alfredo set the agenda for the Balearic sound, with Mas’ expansive warm-up sets the blueprint for the genre-defying selector culture now blossoming in the post-Discogs world.

    Something of a musical polymath, Mas owns a record room that is a meticulous chronicle of his life as a voracious collector, spanning a huge range of eras and scenes, from avant-garde jazz to contemporary house and techno. As radical with his politics as he is with his records, it’s nothing less than you’d expect from someone’s whose first 7″ was the soundtrack to an Italian ’70s erotic fantasy film.

    On the eve of his headline performance at The Vinyl Factory’s Stromboli disco as part of this year’s Volcano Extravaganza festival, we visited Leo Mas in Milan to get the inside track on a record collection that truly changed the game for DJs around the world.

    Read it here.


    It’s summer in Berlin, which means it’s pouring with rain. As Steffi offers us shelter from the elements, welcoming us into her spacious flat on the top floor of an altbau in Kreuzberg, a steady afternoon storm beats against the windows. The effect makes her record room seem cozy, a true sanctuary, with neat shelves of records piled almost to the ceiling.

    At a first glance, it looks heavily curated, expertly pruned, the rock-solid collection of someone who has poured years and years into their passion for music. “For the first time in my life, I recently sold some stuff, which was really difficult,” explains the Dutch-born, Berlin-based DJ, as she gives us a detailed tour, section by section, genre by genre. “There are things that were either too damaged, or I’m ready to let go of it, which took 20 years.” She laughs and sighs at the same time.

    Steffi is one of Berlin’s most well-known DJs, with her monthly residency at Panorama Bar now all but an institution unto itself. Earlier this year, she put out an already super-acclaimed Fabric mix, and in September, she released her third studio album, World of the Waking State, a subdued, sophisticated and hypnotic collection that melds together the most compelling aspects of her career to date.

    With so much going on, it’s easy to imagine record collecting taking a back seat to all of her other endeavours, but a few inconspicuous piles of vinyl on the floor suggest that for Steffi, her collection is always a work in progress.

    We sat down to discuss her beginnings in the south of Holland, her favourite records shops, and how she stays fresh and engaged in the international DJ scene after over 20 years in the game.

    Read it here.


    “I love when people play Pharoah Sanders in clubs.” It’s this impulse that brought Mafalda to London three years ago. Drawn to a city where DJs play jazz on the dancefloor, Mafalda has quickly made tracks as a joyful selector of spiritual grooves, straying gleefully across genres as a regular on NTS, Worldwide and festivals like Dimensions, where she’ll appear next month.

    As Floating Points’ partner in crime she co-runs reissue label Melodies International, and has overseen the release of now iconic records by Aged In Harmony and Open Soul, originals of which you’d be more than likely to find at Cosmos, the London arm of the first pressings record shop where Mafalda also works.

    Inviting us to the attic room of a small North London apartment, Mafalda begins by putting on her latest acquisition, Pharoah Sanders’ Love In Us All, a smile flashing across her face: “Pharoah Sanders is very special, I love all the records I have of his.”

    Read it here.

    Eamon Harkin

    From watching his mother enjoy the festive show bands in Northern Ireland to seeing Gilles Peterson command a whole scene in London, Eamon Harkin’s journey to Mister Saturday Night has been informed by music’s ability to shape community.

    With an open ear to music from across the spectrum, he and partner in crime Justin Carter have put this into practice, turning their party from local hang-out into a worldwide institution. Notching 250 parties in just eight years and marking the occasion with a fantastic compilation on its own label), Mister Saturday Night and brother-in-dance Mister Sunday are now on the verge of becoming part of the New York City furniture.

    Such was the sense of bond between dancers and DJs that the pair raised over $100,000 on Kickstarter to help build their venue Nowadays into a permanent space, complete with two state-of-the-art sound systems: one for dancing and one for listening.

    It’s an approach which is reflected in the organisation of Harkin’s 10,000-strong collection. When we spoke to him, he’d just received another big delivery, some of which were destined for the wall of house, techno and disco in the upstairs studio, the rest downstairs in the living room, where jazz, soul and ambient flank a valve amp and high quality speakers.

    More of a toe-dipper than a deep digger, Harkin’s collection is the physical manifestation of the Mister Saturday Night ethos, where good music rules over rarity every time.

    Read it here.


    Growing up in a small coastal town on the outskirts of one of Europe’s main oil spots, Hans-Peter Lindstrøm’s initial forays into music may sound familiar to those who grew up far from the bright city lights. Church-oriented gatherings with neighbours and friends, choirs, organ music, Christian rock, and ’80s pop dominated, while pirate radio played from the surrounding rural islands. These were the unlikely origins that laid the foundation for a steep ascent to one of the leading lights of contemporary disco.

    From the discovery, and recovery, of a bedraggled Boney M cassette on a remote Norwegian road, to crate digging excursions across Europe and Asia, Norwegian producer Lindstrøm’s record haul is as varied and far reaching as his own productions.

    With his fifth solo album, It’s Alright Between Us As It Is, released this autumn on Smalltown Supersound, we visited Lindstrøm’s cosy studio in downtown Oslo to hear the stories behind that stunning wall of records.

    Read it here.

    Justin Strauss

    A true NYC legend and resident DJ at the city’s most iconic clubs in the ’80s, Justin Strauss shared first-hand stories from the oft-mythologised scene that he shared with the likes of Jean-Michel Basquiat, Keith Haring, Larry Levan and many more.

    It was a world where art, music and club culture grew hand-in-hand – where Keith Haring would dance to Larry Levan at Paradise Garage, where Thurston Moore rubbed shoulders with Jean-Michel Basquiat and Andy Warhol at Mudd Club.

    Resident DJ everywhere from Area to the Ritz, Tunnel to Mudd Cub, Justin Strauss lived through it all, channeling this no holds barred approach to creativity through his eclectic DJ sets. Launching a career that has seen him release a cult album on Island when he was just a teenager, notch hundreds of remixes, and amass one of the finest record collections in New York, Justin’s Mudd Club was the physical and spiritual centre of the city’s downtown underground.

    With Jean-Michel Basquiat’s headline show Boom For Real one of London’s headline exhibitions this autumn, we visited him in his NYC home to hear a first hand account of daily life in the rundown, beat-up, beautiful, creative and liberated melange of early ’80s New York City.

    Read it here.

    Nabihah Iqbal

    Nabihah Iqbal is the artist formerly known as Throwing Shade, and although she has recorded all the parts on her debut album herself, and holds Prince in high esteem, the comparisons with the Purple One end there.

    For many, the entry point for Iqbal’s music has been the regular NTS show she hosts, drawing on her training as an ethnomusicologist to share sonic journeys to countries around the world, based around rare recordings taken from her university’s vast sound archive. Whether it’s North Indian ragas or Arabic makams, rare afro-funk or Japanese ambient modes, her record collection reflects those journeys.

    But Iqbal is no exclusivist, and her love for music from around the world stems first and foremost from her own curiosity to learn and impart that knowledge. “You might think you’re only into a certain type of music,” she says, “but if you let your mind wander, then you can gain so much more from it.”

    It’s a more intuitive approach that has influenced Iqbal in recording her debut album Weighing of the Heart, which was released on Ninja Tune in December. A sum of her own musical loves, from ska and post-punk, grunge and ’80s pop to the trinity of Hendrix, Prince and Michael Jackson, Iqbal allowed these to coalesce unconsciously, and was almost surprised to hear how the record ended up sounding.

    Read it here.

  • Our 20 favourite 12″s of 2017

    By | December 5, 2017

    From essential track IDs to crafted EPs.

    Having picked out our favourite 7″s and 10″s, we turn our attention to the 12″ in the second of our retrosepctive rundowns of the last twelve months.

    And just as 7″s no longer represent the year’s biggest chart hits, so has it been some time since 12″s were exclusively the domain of the dance floor.

    From the simple 2-track club banger to EPs that border on mini-albums, we’ve demanded that each 12″ offers something more than just an aggregation of the year’s best tracks.

    Some though, like Objekt, Denis Sulta and Bufiman do represent the year’s most urgent dance music, or in the case of Bicep, Four Tet and Nathan Fake distil new albums in more forms.

    This year, the 12″ has also been the friend of the UK’s burgeoning grassroots jazz movement, capturing the nascent scene as it grows and evolves, whether on Joe Armon-Jones & Maxwell Owin’s Idiom, Moses Boyd’s Absolute Zero or the improvised voyages of A.R.E. Project.

    And finally, the 12″ was also home to several beautifully crafted EPs, cementing concepts and musical ideas – from Fatima al Qadiri’s provocative sexual politics to LAPS’ DIY dancehall – that circumvent generic boundaries for something true to the musical diversity of 2017.

    You may have also noticed that we’ve changed the emphasis of our lists this year away from the tired, arbitrary and frankly over-used ‘best’, to the more openly subjective ‘favourite’. We believe this more accurately reflects the fact that these rundowns are essentially recommendations of what we’ve enjoyed most this year, as selected by our weekly contributors Patrick Ryder, James Hammond and Chris Summers, alongside VF’s editorial team, Gabriela Helfet and Anton Spice.

    What were your favourites this year? Let us know in the comments below.

    See the rest of our 2017 review:

    Our 50 favourite albums of 2017
    Our 10 favourite 7″s of 2017
    Our 12 favourite reissue singles of 2017
    Our 30 favourite reissues of 2017
    Our 12 favourite soundtracks of 2017
    Our 12 favourite record sleeves of 2017

    20. Bicep

    Glue EP

    (Ninja Tune)

    Listen / Buy

    Bicep may have dropped their long-awaited debut album, taking first place as the most track ID-requested producers of the year by a country mile in the process, but the audio pinnacle from this Belfast duo actually came in the form of their final release of 2017. The Glue EP delivered one of the LP’s finest cuts on the A-Side, plus fresh tracks which included the delightfully acid-tinged ‘DLR’ on the reverse. – GH

    19. Dazion

    Don’t Get Me Wrong

    (Second Circle)

    Listen / Buy

    This curveball dropped right at the start of 2017 and hasn’t left the record bag since. Lead track ‘Be A Man’ sashays across the dance floor with jasmin-infused disco pizzazz, lush synths and a belly-dance bassline underpinned by sharp-as-brass percussive shuffle. Things take a step down to Room 2 on ‘Rigola’, the groove staying in the pocket, with vibraphones to the fore. A triumph for the Music From Memory off-shoot that was heard far and wide this year. – AS

    18. Carla Dal Forno

    The Garden

    (Blackest Ever Black)

    Listen / Buy

    A VF favourite coming off the strength of last year’s debut full length You Know What Its Like and its accompanying singles, this year gave us four new cuts from Carla Dal Forno which made for more essential listening. An artist who sets out an alluring sound world of mysterious and uneasy pop music, The Garden carried on where her debut left off in its sparingly affective structures and ability to craft distinctive vocal hooks that work their way in with repeated listens. – JH

    17. Denis Sulta

    Nein Forteate EP

    (Sulta Selects)

    Listen / Buy

    Glasgow homebro Denis Sulta launched his own label with two choice EPs this year, the highlight of which was its inaugural release, Nein Forteate, featuring ‘Dubelle Oh XX (JVIP)’. The kind of synthy club anthem that Sulta is rightly becoming known for, its greatness lies about 3 and a half minutes in, when the track, seemingly at its peak, suddenly cuts out… Is it a mistake, a DJ faux pas, a power problemo? Nah. It’s Sulta bringing in a silky smooth “ohhhh yeah” vocal, before dropping the ole hook in back again to maximum effect. – GH

    16. Beatrice Dillon & Call Super

    ‘Inkjet / Fluo’

    (Hessle Audio)

    Listen / Buy

    One of our favourite collaborations of the year also appears on one of our favourite labels in sweet symbiosis, as Beatrice Dillon unites with Call Super for this Hessle Audio affair. As with many of the 12”s gracing this year’s list, the A-Side ‘Inkjet’ is a legit slice of aqua electronics, but it’s the flip – ‘Fluo’ – that we’ve been rinsing since it dropped. A soundtrack for the robot takeover to come, with Blade Runner-esque dial tones making way for exquisite saxxy breakdowns midway through. Proof, if ever you needed it, that no B-side should be left unturned. – GH

    15. Avalon Emerson

    Whities 013


    Listen / Buy

    Avalon Emerson returns to Whities for the follow-up to her Narcissus in Retrograde EP – one of our favourite 12”s of 2016 – on a different, but no less excellent, tip. With this catchy double-dose, she continues her well deserved ascent as one of the most exciting producers around: ‘One More Fluorescent Rush’ serves glitchy, spaced out feels, before ‘Finally Some Common Ground’ takes off on a Soichi Terada-esque, one-way trip to the intergalactic mothership. – GH

    14. Four Tet

    ‘SW9 9SL / Planet’

    (Text Records)

    Listen / Buy

    Aside from a couple of split 12”s last year, 2017 marked something of a return to the prolific output we’ve come to expect from Kieran Hebden, releasing a handful of 12”s, a load of material via multiple Spotify aliases, some brilliant remixes, the year’s most ID’d edit ‘Question’, and a new full-length infamously made using just a laptop and a view over some unspectacular woodland. Thankfully, the album’s two stand-out tracks were also collected on this limited 12”. Propulsive, melodic dance music for the headphones or the dance floor, ‘Planet’ is Four Tet’s finest since There Is Love In You. – AS

    13. Craven Faults

    Netherfield Works

    (Lowfold Works)

    Listen / Buy

    Elusive, evasive, but delivered with unerring authority, Craven Faults is one of this year’s wildcards. Arriving on a mysterious label with a soaring two-track EP of airborne krautrock, Netherfield Works pays its dues to ’70s Düsseldorf and the San Francisco Tape Music Centre and casts them to the English winds, forging two sprawling tracks from within a nest of patch cables in an old Yorkshire textile mill. A modular synth record that, like recent works by Kaityln Aurelia Smith seems to shed its machined origins to become something altogether more organic, Netherfield Works overflows across two sixteen minute tracks that will appeal to fans of Cluster, Steve Reich and the like. – AS

    12. Fatima Al Quadiri



    Listen / Buy

    Few EPs set out to challenge norms and hegemonies like Fatima Al Qadiri’s Shaneera, which riffs on the English mispronunciation of the Arabic word for “outrageous, nefarious, hideous, major and foul.” Reconstructing snippets of Grindr chats, online drag and femme comedy skits, and Iraqi proverbs into a hybrid vernacular built from Kuwaiti and Egyptian Arabic, Shaneera is an intoxicating listen – all menacing dubbed-out electronic arrangements – and a self-confessed “love letter to evil and benevolent queens around the world.” – AS

    11. Bufiman

    ‘Peace Moves’


    Listen / Buy

    Dekmantel celebrated a decade as a champion of left-field, dance floor meditations by delivering its strongest year yet, hosting an annual sell-out festival in Holland, a smaller soiree in Croatia, and releasing some of the label’s finest music along the way, including Dekmantel 10 Years 04 EP and Juju & Jordash’s Sis-Boom-Bah LP. However, it was Bufiman aka Wolf Muhler’s Peace Moves EP that best represented the weird af and wonderfully off-kilter sonics which have come to define the Dutch imprint. A seemingly bizarre combination of growling vocals and cranky, bent out of shape jack-in-the-box effects that sounds so wrong it’s right. – GH

    10. Moses Boyd

    Absolute Zero

    (The Vinyl Factory / Exodus)

    Listen / Buy

    Drummer and producer Moses Boyd exploded into the wider musical consciousness with ‘Rye Lane Shuffle’ in 2016, and this EP, co-released between VF and his own Exodus imprint, was his much-anticipated follow up. Ditching the horn stabs for shimmering krauty synths, Absolute Zero was born out of Boyd’s solo live shows but has since been reintegrated into the Exodus band with which he has sold out the likes of Corsica Studios and Jazz Café this year. Underpinned by his live-wire drum sound, this EP swells with a restless ease, referencing influences as broad as grime, ambient and hip-hop, rooting this new jazz mode in an urban context. One of the year’s breakthrough artists, expect to hear much more of Moses in the coming months. As objective as we can possibly be, the soft-touch laminate artwork by Optigram may also make this one of our favourite sleeves of the year. – AS

    9. Agnes Obel

    ‘Stretch Your Eyes (Quiet Village Remix)’

    (Phonica Special Editions)

    Listen / Buy

    You don’t need us to tell you how great it is to share a building with a record shop, let alone one as consistently on point as Phonica. So when manager Simon Rigg called us into his office one afternoon last summer with news of an extra special 12” on one of the shop’s in-house imprints we knew it was going to be good. Here Quiet Village pull apart Danish singer Agnes Obel’s ‘Stretch Your Eyes’ into a dark and dubby chorale, backed by an eerie a cappella imbued with the same haunting longevity of Massive Attack’s ‘Teardrops’. – AS

    8. SW. / SVN

    ‘Sued 18’


    Listen / Buy

    Who needs things like track names when the music can do the talking? Not SW. that’s who. The producer follows up a close-to-perfect 2016 LP (appropriately called The Album) to team up with SUED co-founder SVN. SUED 18 kicks off with Pepe Bradock-esque house heaviness on the A-Side, plus a knockout, subdued techno ride on the reverse. – GH

    7. Floating Points

    ‘Ratio (Deconstructed Mixes)’

    (Pluto Records)

    Listen / Buy

    Though Floating Points debuted versions of the slow-rolling, emotional synth-filled ‘Ratio’ via live shows and DJ sets last year, it finally saw a long-awaited official release this October. Well worth the wait, ‘Ratio’ is a shimmering number that harkens back to Floating Points’ supreme ‘Myrtle Avenue’ and ‘ARP3’ fare. And though it may seem like a mere sales gimmick to release the track in ‘deconstructed’ parts, as he did on the B-side, it’s not. If you caught his live set this year, this seemingly fractured 12″ actually makes perfect sense because no live version of ‘Ratio’ was identical. An exciting hint that the best of his new material is yet come. – GH

    6. Joe Armon-Jones & Maxwell Owin


    (YAM Records)

    Listen / Buy

    A record that captures the jazz routes and roots coursing through London at the moment, tying together the convergent legacies of broken beat, house, 2-step and fusion that having been coalescing south of the river for some time. Aside from being assembled from a quintet of fiercely accomplished musicians (Armon-Jones & Owin are joined here by Nubya Garcia, Oscar Jerome and Jake Long), Idiom is a refreshingly playful record that never takes itself too seriously. With discrete improvisations woven into the fabric of each track, Idiom is greater than the sum of its parts, and a testament to the community that has helped elevate it. – AS

    5. Nathan Fake

    Providence Reworks – Part I

    (Ninja Tune)

    Listen / Buy

    A primer on how a track, in this case Nathan Fake’s ‘DEGREELESSNESSS’ from his Providence LP, can be turned into (two times the) greatness, thanks to formidable edits. A-Side sees Overmono assuming the rework duties to craft one of the anthems of 2017’s festival season, teasing out the most euphoric moments of ‘DEGREELESSNESS’ across seven and half minutes. Meanwhile, a no less worthy of rotation revamp from Huerco S brings a psychedelic, Middle Eastern-hued séance to send you into a zen-filled trance. – GH

    4. LAPS

    Who Me?


    Listen / Buy

    LAPS are Ladies As Pimps, the Glasgow duo and Golden Teacher affiliates forging an industrial dancehall sound that’s unlike anything else we heard this year. If there’s one big hit here it would be title track ‘Who Me?’, which finds a sweet spot between the sensual, the confrontational and the surreal we had no idea existed. It’s a trick ‘Edges’ manages too, before rounding off the EP with the fragmented “pyjama house” of ‘Lady Bug’. A charismatic record that pulls no punches, and a fine first foray into new music for 2017 label newcomer MIC. – AS

    3. Objekt

    Objekt #4


    Listen / Buy

    If in January someone had told us one of the biggest tracks of the year would be a slowed-down two-step garage beat-meets-techno superjam, we would have been rather confused about what the year held in store. But so it was. TJ Hertz’s first release since 2014, a 12” on the club-focused white label series under his Objekt alias, stormed dance floors far and wide thanks to its unexpected B-Side. ‘Theme From Q’ is the kind of track that works in sets of all shapes, speeds and sizes, because it’s just that great. – GH

    2. Hieroglyphic Being, Sarathy Korwar & Shabaka Hutchings

    A.R.E. Project EP


    Listen / Buy

    Arguably one of the UK’s most prolific and inspiringly creative musicians, Shabaka Hutchings leant his saxophone touch to a number of contenders for our favourite releases of the year, including the Comet Is Coming’s psychedelic jazz 12” Death To The Planet 12”. That said, A.R.E. Project, a unique and forward-thinking, improvised collaboration between Hutchings, Hieroglyphic Being and Sarathy Korwar was the obvious choice. Captured during a completely live, two hour performance aboard a studio moored inside a ship along the Thames, the EP sees cosmic sax merging with Indonesian folk music and space-age electronics for a truly one-of-a-kind result. – GH

    1. Sudan Archives

    Sudan Archives

    (Stones Throw)

    Listen / Buy

    One of this year’s most enchanting debuts came from violinist, producer and vocalist Sudan Archives, whose self-titled EP on Stones Throw takes the award for our favourite 12” of 2017. Channelling the bedroom RnB production that sustained her early forays into music into an outward-looking hybrid sound, Archives draws as much on North African melodies and instrumentation as Stones Throw’s storied left-field hip-hop tradition.

    A self-taught violinist, she weaves finger picking rhythms into the fabric of her productions, and uses its sawing melancholy to lend a gorgeous nostalgia to each song. And while ‘Come Meh Way’ might be the track you’ll have heard most, ‘Oatmeal’ and ‘Goldencity’ exude the same singular clarity, marking out a route between the percussive, earthy RnB of opening track ‘Paid’ and the syncopated folk musings of final track ‘Wake up’. A modest record, both utterly new yet uncannily familiar, we revisited this EP time and again this year, and can’t wait to hear what comes next. – AS

    Illustration by Patch D Keyes.

  • Crate Diggers: Objekt

    By | April 12, 2017

    From his Autechre worship phase to the digi-dub 7″ he bought yesterday, Objekt unlocks his record collection.

    Following his debut album Flatland on PAN, TJ Hertz aka Objekt has just dropped ‘Objekt #4’, the latest in his club-focused white-label series that kicked off back in 2011.

    The record is a tribute to the now-shuttered Basement Q, a beloved haunt in Berlin’s Schöneberg ‘hood “which quietly but profoundly shaped the musical identities of Hertz and several of his contemporaries.”

    You don’t have to spend long in Hertz’s record collection to see how committed he is to the art of DJing. One of the most functional, working collections we’ve experienced, it’s pure-fire house, techno and electro here, all united by a sense of “rhythmic propulsion.”

    Yes, you might find a smidgen of African folk or the odd blues compilation but for Hertz, it’s not about owning prized objects but rather, symbiosis of sounds.

    This room is quite obviously set up for DJ’ing but would you ever sit down in here and listen to an LP?

    No. The acoustics are terrible. It’s just a space where I can prepare for the weekend, mix some records.

    Is your collection mostly DJ records then?

    Basically yeah. Down here [under the decks], the way I’ve got it setup is kind of chronological according to when I last played the record. Broadly speaking – house, techno, electro [in three shelves]. It’s a very functional record collection.

    Considering that it’s mostly dance records, do you have anything in here that is perhaps surprising or unexpected?

    The stuff that isn’t house or techno is quite a ramshackle collection. Let me have a look… I recently got this acoustic guitar music from Western Africa, it’s called Les Filles De Illighadad by Fatou Seidi Ghali & Alamnou Akrouni. There’s also this blues compilation I bought, Living Country Blues USA, Volume 1, which actually I do play sometimes because it’s got a great a cappella. Have you heard the Call Super Fabric mix? He stuck it at the end.

    These are both very tasteful choices, have you not got any guilty pleasures?

    I think the notion of a guilty pleasure as cheesy music that you should be embarrassed to like shouldn’t really exist. I guess my interpretation of a legitimate guilty pleasure is music that I genuinely don’t think is any good but I still get a kick out of. Probably the only kind of stuff that would fall into that category for me would be maybe some of the electro-clash that I might have been listening to at university that I still have some nostalgia for or maybe some fidget house from around that period, which I genuinely don’t think is very good and I’ll never play but I’ll admit to having a bit of a soft spot for.

    You studied at Oxford University, right? And ran a club night there?

    It was called Eclectric, I took it over from people who had started it years before that. It was actually several nights. I ran the one in a little basement club that focused more on techno and there was also an electro night – I say electro, I mean Ed Banger kind of electro – which I was less involved with. It was everything that a crappy student-run small dance music night in a 150 cap club usually is but it was fun it gave me an outlet to play the kind of music that I wouldn’t have got away with playing at other nights in the city.

    You studied engineering there, I was wondering how systematic you are with your collection, and your interests, and discovery of new music?

    I’m absolutely like that. I don’t think it has to do with what I studied though. I think I have a bit of an OCD streak I guess. A lot of the time my methodology for digging for records is exhaustively exploring one label or one artist on Discogs and feeling quite uncomfortable if I skip entries in the discography and therefore don’t know if I’ve actually properly explored the artist or not. In many ways that’s crippling because it doesn’t really lend itself to acquiring a broad knowledge of everything that’s out there.

    I’ve started getting into that approach too, I’ve become really anal about going through the works of an artist chronologically.

    Yeah totally.

    And you do end up listening to some stuff that’s…

    Just a bit crap? [Laughs] You just spend a lot of time listening to probably not the best records in someone’s oeuvre.

    Let’s rewind a bit, what are your earliest memories of music or records growing up? Was there vinyl around the house or was it tapes and CDs for you?

    There was a bit of vinyl. My mum was a composer, she’s not anymore actually, she’s a therapist, but she was a professional composer earlier in her life so there were always instruments around her house. She had a home studio.

    Did I read somewhere that you used to play around in there from quite an early age?

    Yeah, I started doing that when I was eight or nine. She would set up some instruments for me. I guess my earliest musical memory – well I don’t remember this but – I had a mobile over my cot that played ‘I Could Have Danced All Night’ from the musical My Fair Lady. So apparently I would hum along to this thing before I could talk.

    What else? The stuff my parents were listening to at home as a kid was mostly stuff like Toto, that’s a big early memory. Tears for Fears, Steely Dan, people like Al Jarreau, Dave Grusin, a lot of contemporary jazz fusion, home listening friendly stuff. I was really into Michael Jackson for a while.

    Do you remember the first vinyl record you went out and bought?

    Good question. I remember the first CD I went out and bought… it was the first Savage Garden album [laughs.] I think the second was a NOW compilation. I must have been about ten.

    I’ve got a few NOW compilations in the attic too. Well, what age did you get into vinyl?

    Not really until I was about nineteen or twenty I guess. Because when I started DJ’ing I was… well you’ve got to remember this was the blog house era so I was DJ’ing with 128kbps mp3s off blogs burnt onto CDs and played off some shitty Gemini CDJs that they might have had at whatever shithole I was playing at.

    I wasn’t really going out and buying vinyl at that time. I think some stuff was maybe given to me, some stuff maybe the student radio station had lying around that nobody wanted. I have a lot of crap from that era, it’s on the bottom shelf for a reason and it’s stuff I want to get rid of at some point. Some day when I have the time I’m going to go through it and establish what is actually worth selling and what I may as well just bring to the dump.

    So you’re not a hoarder?

    No, not really. I can’t really see myself wanting to fill up more than this shelf of records, at least not at this stage anyway. Because, even with the records I want to keep or even the records that are decent enough, I reckon there’s a good 40% I can get rid of comfortably.

    How many of you got? Maybe 700?

    I guess one of those four by fours is about 1000 I think. I’d say 60 in each of these [squares] times 16 is about 1000 and then there’s about another 200 around.

    It never looks quite as big on the shelves does it but the second you’re counting them up or packing them up it’s a different story.

    Where were we? First vinyl purchases… I don’t know, I feel like the first record I bought wouldn’t have been very memorable. It took me a while to realise that a lot of the records that the DJs I was admiring at the time were playing weren’t available digitally. I gradually started browsing Juno at the time, around 2006-2007, but I think at the time I was quite intimidated by it because I hadn’t come from a house and techno background and that section of a website like Juno is so exhaustive. If you don’t what you’re after you are lost.

    I guess I had a stack of thirty or forty records by the time I finished university, a couple of which I still have. And then I moved to Berlin, got a full time job at Native Instruments, had enough disposable income that I could spend most of it on records and started shopping a lot more at Hardwax and Discogs, and that’s when I started building my techno collection up.

    Is Hardwax still your go-to? It’s like the techno mecca here in Berlin.

    It’s my go-to because I have a nice relationship with them and it’s not too far from here. I quite like their website for browsing because it is laid out compactly. I almost always order stuff online and then go and pick it up just because it got to the point where I got so tired of getting stuff home and listening to it on different speakers and deciding I didn’t actually like it as much as I thought I did in the shop. Also, it’s really handy to be able to find out what tempo it is, particularly if you’re buying stuff over a bigger tempo range.

    Can you remember a recent purchase?

    I got this 7″ called ‘Ghetto Rock’ by Pampidoo. It was in the miscellaneous 2000s digi-dub section at Hard Wax. It’s pretty fun and it’s got this completely deranged vocal.

    Have you tested it on a dancefloor?

    No I bought it yesterday but I’m going to take it to Newcastle this weekend. What else? I’ve been getting into Scorn more and more recently, well I finally did the digging that I wanted to do for ages with Scorn. I picked up this thing he did on Hymen in the ’90s, like really cool kind of heavy, illbient, kind-of proto-dubstep stuff. It has this kind of weird, hollow, metallic apocalyptic edge to it without it being so doom-y.

    You released on Hessle Audio in the 2010s, have you got many records from that scene?

    Yeah I got a bunch of that. There’s a shelf down there that’s UK stuff, breakbeats, jungle, dubstep, but it’s really mish-mash. Actually this Millie & Andrea record is one of the ones I keep coming back to.

    Cool cover art.

    Yeah it’s great they did a whole series with different coloured eyes. What else? I wish I could say I own ‘Root’ / ‘The Goat’ Stare [by Loefah] but I don’t. That was quite formative although I only ever listened to it on YouTube.

    Presumably you have your own release ‘Cactus’?

    Yeah somewhere. I think that might actually be in the techno section actually because I usually play ‘Porcupine’ (rather than ‘Cactus.’) Oh, and here’s ‘Objekt #1’. They were pressed up as five hundred and then we just kept repressing and it just goes and goes and goes. Every time we do a repress the Discogs price goes down a bit and then it goes back up to twenty five or thirty quid. I think we must have done about three thousands copies for number one. I’m astounded that people are still willing to spend £30 on a dubstep record in 2017.

    Looking through your discography one of the really stand out releases is the split with Dopplereffekt. How much are Gerald Donald and James Stinson an influence on you?

    Pretty significantly, I’d say. Around when I was starting to get into electro, I guess around 2012 or so, Drexicya were a pretty obvious starting point. It was just before Clone started reissuing a lot of the Drexciya back catalogue. Then the three Clone reissues came out and I just bought those and that was already probably 70% of the stuff they put out. I have a few things on top of that. There’s this LAM record that’s really fun, I can’t remember if it’s Donald or Stinson or both of them.

    I think I read that what initially drew you to Drexicya was this aesthetic of impact without bass.

    Yeah there was a period where I was really fascinated by that. This idea of keeping the low end completely clear apart from the occasional punch in the gut and everything set on top of that. I obviously see more to Drexicya than just that but that was one thing that peaked by interested at the time.

    What are your other major influences? Do you have much from the IDM days on vinyl?

    Not that much. I’ve got some in the electro section and I’ve picked up a few of the reissues as they’ve come out and I have a few Autechre records, and a few more contemporary records as they’ve come out. I haven’t really built up a lifetime of listening on vinyl: it was always a DJ collection. As such there’s a lot of stuff in there that’s pretty functional. There’s a few records that I do prize and cherish but more in a really good record sense rather than these are my babies. I think I have quite a pragmatic view towards my record collection and increasingly I buy more and more digital stuff and play more promos. I maintain a record collection and still take a lot of vinyl to every gig because I really like playing records but I am not in any way a purist about it.

    So you’ll play cross format, that’s probably my favourite way to DJ too.

    Yeah totally, maybe 50-50. I find when I do purely digital gigs, it’s too easy. Or maybe that’s the wrong way of putting it. I find it a bit too static somehow. I’m not moving around enough in the booth. I need to throw in a few records to make feel like I’m on my toes, to keep riding the pitch fader and having things slip a bit, and the push-pull of the equipment.

    Lots of people have commented on how there was a phase when clubs stopped looking after their decks – you’d hear stories about DJs turning up only to find no earth cables or decks being used as holders for CDJs…

    I’ve actually fared pretty well in respect. But it might just be that that period was probably at its worst at a time when I was already starting to play more established clubs that took better care of their equipment. That’s definitely a far cry from saying I could just show up wherever and expect to play vinyl without sound-checking. It’s still a super important part of my process to show up an hour before doors and test everything and have a very detailed tech rider that explains how to prevent feedback and how to set it up and then checking myself. but that being said, most of the time I’m able to make it work.

    I guess festivals and temporary locations are especially troublesome.

    Yeah. Festivals it depends who you are working with. The Dutch festivals are fine because they have such a solid festival tech infrastructure there that you can usually really on them having enough concrete and Isonoe feet and squash balls and whatever and be able to set it up properly. The ones I tend to worry about are the ones where there is no time for soundcheck and often in those cases I’ll prepare to play just digital.

    It’s quite insane having a needle transfer sound to a massive audience.

    It’s nuts. You’re talking about aiming a microphone at a record next to a huge stack of speakers with tens of thousands of watts of power jumping through them. But it’s not actually that hard to isolate them, it’s something a lot of people struggle with but if you know what you’re doing.

    So what are things that need to be in place?

    You need some concrete. Put the concrete under the turntable and then you decouple the concrete from the vibrating surface from the tabletop and you do that by putting it on squash balls or something else that’s a bit bouncy. Actually quite a good rule of thumb for whether you’re going to have problems is if you show up and you can feel any vibrations on the surface that the turntable is sitting on then you’re fucked.

    I heard a really good tip from a sound engineer once, he said on big stages when they are running out of time and they don’t have enough concrete blocks, you can actually strap a full crate of beer or water bottles to the bottom of the tables to dampen down the table itself and then put the concrete on top on that. I actually I ended up doing a similar thing at a festival where we stole stole some concrete blocks that the fence posts go in and put them on the table to weigh it down and then used the concrete and squash balls for the turntables. I take my own squash balls with me to gigs now because you can usually reliably count on promoters to supply concrete blocks. So precautions like this and then sound-checking, I’d say 90% of the time vinyl is okay.

    Are your sets and productions still tied together by a machine aesthetic?

    No no, that was very much a place I was in three-four years ago when I was in the height of my Authechre worship phase. I still pick up on a lot of that stuff. I don’t really know what the central theme is now. I guess like, rhythmic propulsion maybe? Or like a certain sense of urgency. I don’t have that much dance music that sits back and grooves in a languid way. A lot of it is a little bit anxious somehow and where it doesn’t do that, I try to make it do that with the mixing. Certain kinds of melodic signifiers run through my collection or at least the stuff I am playing too.

    What sort of melodies?

    It’s really hard to describe… Ones that are a little bit odd, maybe a little bit haunting often quite naive, not too kitschy and have some element of suspense. The stuff that really turns me off are tracks where the chords and melodies work together in such a way that it’s just so resolved already from the start. Like there’s just a minor chord and it just sits on top of it and it doesn’t pull you in one direction or another. Actually a lot of quite contemporary electro that’s aping on classic electro is like that. It kinda does my head in.

    What’s the most expensive item in your collection?

    It’s not even that expensive… A €60 Simulant record on Scopex, ‘Access Future Audio’ from Out of The Ether, which is rare electro. There’s also a Pollon record [Electratech] on Scopex, one of the tracks of which I reissued for the Tresor mix because there were two 12″s that came with the CD that were available separately.

    If your flat was burning down and you could only save one of these records, what would it be?

    I was thinking about this last night…

    Did it keep you up at night?

    It actually kept me up till 4 in the morning [laughs.] I don’t know, I could pull out a record like ‘Transition’ [by Underground Resitance] or something like that. I associate such strong memories with playing it at Freerotation which was in many ways like a real turning point in my life at the time just because I’d been going through quite a rough period and had quite an intense weekend with some really close friends that was just extremely euphoric from start to finish. Then I played the closing set which was the absolute peak of it and I came away just glowing profoundly. I think I’ll always attach that kind of feeling to that record. But it’s not even a record that I’ve played out that much over the years to be honest and it would feel a little bit disingenuous of me to pick out one of these and call it the one record I would save if my house burnt down.

    Given the way you’ve described your collection, as a DJ collection, that does fit the bill. It’s more like a body of sounds.

    Yeah, I see my record collection less as a collection of objects that I prize and more as a set of knowledge that I’ve acquired. Here is a bunch of things that I’ve learnt. So it’s maybe difficult or irrelevant even to pick out one of them as the most special. It’s more about what I would do with it and how I would play it and things that it goes well with.

    Photography by Martha Glenn

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