Stand by for Ol’ Dirty Bastard, The Fall and a whole lot more, re-minced New York styleRead more
Lose yourself in French house luxuryRead more
Ell Murohy takes to the decks – and the microphoneRead more
Immerse yourself in the red hot sound from the icy north of ScotlandRead more
Hannah Holland, Jennifer Loveless and more feature on IWD celebration mix
Scarlett O’Malley is a DJ, presenter and record collector from West London. A resident of The Vinyl Factory and Foundation FM, her music style transcends genres and eras, with a collection covering soul, Latin, disco, house, trance and more. Just back from playing a gig in Mexico City and with a summer diary bulging with gigs and festival bookings, Scarlett celebrates IWD with a fully female/non-binary mix for Juno Daily.
Scarlett says: “For this IWD ’22 mix I wanted to make it 100% female and non-binary produced and featured and I also wanted it to include and array artists who I love. LADYMONIX and Cinthie are two of my long-time favourite producers and make the house music I really love! Then the likes of Ell Murphy, Giulia Tess, LUXE and Eliza Rose are staples of the London music scene and had to be featured as part of this mix with a fusion of garage and breakbeat. Other DJs and producers who I have recently enjoyed watching their journey like Hannah Holland, India Jordan, Jennifer Loveless, niina, Emily Nash, Gina Breeze, Meg Ward and Machine Women I wanted to bring into the mix and bring a fusion of electronic music from across the board. I end on a slow and soulful tip with a new one from Melvo Baptiste’s The Remedy Project, Hadiya George and an even newer one from the ever fabulous Crazy P.”
niina – 2 high 2 cry
Drega ft. Maline Aura – Vela (Extended Mix)
LADYMONIX – It’s A Party Dammit!
Cinthie – Just Us
ASTRYD, Machine Woman – Numbing (Machine Woman Rework)
Meg Ward – Peanut Power
Emily Nash – Garden
Hannah Holland – Sth Ldn
Jennifer Loveless – In 10,000 Places
Gina Breeze – Lucid Skies
Wayward – Thirty Three (Eliza Rose Re-Rub)
Giulia Tess ft. Ell Murphy – I Feel You
LUXE – Belonging
India Jordan – Watch Out!
Hadiya George – Balance
Crazy P – If Life Could Be This Way
The Mancunian crate digger is preparing to release his debut LPRead more
The Scottish techno legends don their electro alter ego to celebrate new LP from Soma offshoot Avoidant
Autonomous – the electro alias from techno legends Slam – have swung by the Juno office this week, parting the seas for their newest guest mix.
Tying in with their very own new V/A release, Dark Planet – which sees them curate 16 electro pushers from the likes DJ Godfather, Steve Allman, The Exaltics, 88756 and Versalife, creating an arsenal of only the most advanced electro weapons.
The pair said of the mix: “The Dark Planet compilation is full of great electro from some of our favourite producers. It was a pleasure to put together this mix with tracks from the album, which create a unique journey into the Dark Planet.”
Dark Planet is out now in digital form – visit the Soma shop for more details – and keep an eye on Juno Records’ Soma/Avoidant page for a four track vinyl sampler, from the album, expected to drop in March 2022.
Versalife, – Shift Levels
VRIL – Orgon
The Exaltics – One Direct Line
Assembler Code – Architects
DJ Godfather – It’s Only Detroit
Co-Accused – Abduction
Monk – Simulation Theory
Steve Allman – Next Level
88756 – Fine Dining Experience
Helsmoortel – Violence
Flug – Just You
PARAND – Archangel
Three Faces Of Eve – Wish You’d Leave
Canadian-born, Belgium-based producer John Sellekaers joins us for a mix session that centres in on what he calls his love of “slightly disquieting music”, taking in everything from Pye Corner Audio to Mica Levi and much in between.
Sellekaers operates under a dazzling array of different aliases – Feral Cities, Night Sky Pulse, Meeple, Xingu Hill, Concrete Garden – but has also dropped two albums in recent months under his own name, the tape/digital release Foilum for the always fascinating Oreille Gardee label a couple of weeks back, preceded by Observer Effect on Juno Daily faves Glacial Movements at the end of July.
“I’m often attracted to slightly disquieting music;” he says of the mix, “not dark but uncanny, mysterious. This mix oscillates between acoustic and electronic, with living, moving, textures. There are almost no proper beats, but it’s full of rhythms… I’ve included some soundtrack pieces and the work of three essential artists who died recently: Harold Budd, Jon Hassell and Richard H. Kirk. This is a mix for late night, to let the mind wander into uncharted territories… Enjoy!”
01 Pye Corner Audio – Theme Number Five
02 Colin Stetson, Sarah Neufeld – Blue Caprice
03 Arve Henriksen – Saraswati
04 Jon Hassell – Reykjavik
05 Emilie Levienaise-Farrouch – Night Visit
06 Ryuichi Sakamoto – The Staggering Girl
07 Richard H. Kirk – Confession
08 Andrew Pekler – Description of Rain (Over Frisland)
09 Deaf Center – Undone
10 Deru – The Future Never Comes
11 Keda – Hwal
12 Mica Levi – Andrew Void
13 Pinkcourtesyphone – Another Interior
14 Ben Frost – Higgs Field
15 Patrick Graham – Breathing
16 Jonathan Fitoussi – Continent blanc
17 Sofie Birch – Slow Piru
18 Eraldo Bernocchi, Harold Budd, Robin Guthrie – Entangled
The iconic London label treats us to an hour of music old and new
Big Dada have brought us many great ting sin their time, from Roots Manuva’s distinctive rap tones to the Mercury Prize scooping Speech Debelle and Young Fathers. Add to that current roster names like Hype Williams, Sampa The Great and Yaya Bey and you’ve got one of the hottest names in the business.
In January of this year, it was announced that the lognstanding imprint would relaunch as a label run by and for black, POC and minority ethnic artists and staff. May Mahmoudi is a scout for Big Dada, working behind the scenes to provide resources for underrepresented artists and bring the freshest sounds to the ears of the public. In her capable hands, we’re treated to an hour of Big Dada brilliance, from DJ Manny’s downtrodden footwork, LYZZA’s neo-futurist dancehall, and Nidia Minaj’s disjointed batida.
Mahmoudi said of the mix: “In this mix Big Dada delves into new and old sounds & artists pushing boundaries, with some label favorites as well as hints as to what the label’s new signings will be in 2022.” Listen on…
FARAI – This is England (CURL REMIX)
GAIKA – Marchioness
RP Boo – All My Life
Nidia – Popo
Yaya Bey – september 13th (DJ Nativesun Remix)
Pink Siifu ft. Ted Kamal – lng hair dnt care
King Geedorah – No Snakes Alive
Roots Manuva – Kick Up Ya Foot
LYZZA – Tangerine Dream
UNIIQU3 – Shame on ME
Dreamcastmoe – Soul Belongs 2 U
H31R – precious silence
Slauson Malone ft. Maxo – Smile #2
Brian Nasty – Don’t Forget 2 Be Nice
Hype Williams – This is Mister Bigg. How You Doing Mister Bigg
Young Fathers – Rumbling
TNT Roots – Chant Down Babylon Verse II
DJ Manny – Signals in My Head
Sun Ra – Love in Outer Space – Vocal
South London deep house producer in his element
Making a liquor-smooth debut for Al Zanders’ A-Z label – the stellar ‘Mendl 15’ – London deep house producer Sangre Voss has stopped by Juno’s office for an hours’ mix, presenting only the most surreal end of his influences spectrum.
Behind detuned chords and roughly placed drums, Voss’ music is happy-tipsy, showing off a palette shared by the likes of Moodymann, Boof or fellow Rhythm Sectionees, Ben Hauke and Prequel.
Voss keeps a low profile as a public figure, but he’s not without thoughts on this mix: “A lot of the sounds I opted for in my Mendl 15 release are warped, buried and glitchy – I wanted to explore that a little in the first half of this mix before heading upwards into more melodic tracks, percussive interludes and some more free-form samply soundscapes. I hope it can help detach your mind a little.”
This sense of calm disassociation is well and truly achieved. From the poundingly straight grooves of ‘Gheister’ by our recent interviewees Session Victim; to a neo-Arabic swampdance track by Mutamassik; and even some unreleased bits from fellow producers Nowt, Maya Q and himself; this is an etheromaniac’s mix, aimed squarely at all the space cadets out there.
Trailblazing from label to label – having already released with Rhythm Section, Control Freak, and Third Place Recordings – it’s clear he’ll have a prolific career ahead, endlessly tinkering with skew-whiff Balearicism and dubious sound sources.
The full tracklist is as follows:
Pectoflam – Kalimurio
Nice Girl – The Coming
Zahn – Ich Bin Zornig
PPaulus & Destroyed temple – Destroyed temple – la lande
Session Victim – Gheister
Sangre Voss – Guido
Piezo – El Sangre
Timeblind – Hippy Apocalypse
Land of the Loops – Eastes Park
Mutamassik – We-Do
Nowt – Polestar [forthcoming Third Place Records]
Maya Q & Sangre Voss – DA RT Jam 16:11 [unreleased]
Conrad Schnitzler – Untitled
Sangre Voss – Brettes Sholden
Regal86 – Still Ballin’
Adam Oko – Suketo
Nick León – Aguacero
BS 1 – A – Untitled
Julien Clerc – laisser entrer le soleil (Frère laissez nous sortir remix)
Yoshinori Sunahara – The Good Timing of the World of Love SongStream
Get held in a Vhyce-like grip for a whole glorious hour
Portuguese-Italian producer Vhyce embarks on an hour long mix of strident house and stonking disco, showcasing some of the latest moves and grooves by him and a clutch of the Belgian-based DJ’s closest comrades.
Given that this year he’s already released music on Catz N Dogz’s Pets recordings and Waze & Odyssey’s Street Tracks and as recently as last week seen his ‘With The Feelings’ track re-issued on’ Semi Delicious, he’s been a busy chap. We’re told he still has a fair few moves to make with new music coming on Monki ‘&Friends’, Alex Niggemann’s Aeon and a new EP for Pets recordings.
“For this mix I wanted to showcase some of the music I’ve been into lately,” he told us, “as well as some tracks I’ve been working on including my releases for Monki’s &Friends and Catz N Dogz’s Pets recordings.“
Vhyce – Insieme
Longhair – Heatwave (Johannes Albert Remix)
Vhyce – Monde Réel
Harrison BDP – Invisible in the Dark
Vhyce – Sounds I Heard
Mouissie – Callisto
Storken & Brynjolfur – Cliffbanger
Palavas – Lionel Leetchi (Shan Remix)
Vhyce – Inner Voice Alive
Tech Support- Concorde
Earnest J – Electric Air
Kahwe – All Day
Jude Greenaway aka Parallel Action takes us from Britcore to turntablism on his hour long mix session
Parallel Action‘s Jude Greenaway celebrates the release of his self-titled album – also the inaugural release from new downtempo label C7NEMA100 – by spending an hour in the mix blending hip-hop, trip hop and much much more…
Previously building up an impressive reputation under the name ScanOne,, not to mention impressive commercial work in both audio and visual departments, Greenaway took inspiration from his visual work and taken his time with this new project, combining downtempo, breakbeats, trip hop, jazz and electronica with cinematic atmospheres. At the heart of the motivation behind Parallel Action is working with a range of vocalists, storytellers and talented musicians, creating a sound that is emotionally engaging and seeping with dark brewing intensity.
Greenaway said: “This 60 min vinyl DJ mix is a quick dive into the Parallel Action DJ box, from 90s UK Britcore, trip hop. downtempo breaks, scratching and lots of bass! Deep and dark downtempo grooves and journey tracks, this mix has also has five tracks from the brand new self titled Parallel Action LP in there. Enjoy!”
1_Depth Charge_Han Do Jin_Vinyl Solution.
2_DJ Krush_The Kinetics_feat. Sinista_Kemuri Productions
4_Dabrye feat. DOOM_AIR_Instrumental_Ghostly International
8_Massive Attack & Mos Def_I against I_Virgin Records
9_CherryStones_Honeys Pot_Brutal Music
11_A Kirk feat. 2Tall_AKABIZZL_NozL Recordings
13_Prince Lover Dalu_All Promise (Vocal)_A&M Records
Exclusive packed Barton Think extravaganza from Time Is The Enemy
Time Is The Enemy may be a relatively new label but it has wasted no time – see what we did there – in establishing itself as one to watch very keenly, especially after all the praise heaped on the first album from their rather mysterious artist Barton Think, My Last Album .
At the risk of sounding like a Ferrero Rocher advert, they really are spoiling us this week with a selection of tunes all created by Barton Think himself. Leftfield shenanigans, mellow house gliding and broken beatsmithery, this one has it all. What’s more, it’s packed with exclusive mixes that public ears simply haven’t been party – until now.
As if that wasn’t enough, Teresa (International Relations) and Angela (Editor, Social Media Manager) from the label put their heads together to give us the full rundown on the label’s origins and where it’s at right now (see below)…
In The Dark (Spring Version)
The Jazzmann (Bootleg)
My Blue Moquette (Bootleg)
A New Day (Bootleg)
Sound Like Hmm (Bootleg)
Urban Waltzer (Inedito)
Who I Am (Inedito)
You (Original Bootleg 2008)
Time Is The Enemy began with an affiliation to Italy’s Jazz:Re:Found festival. Before we even get into your new Barton Think release, what is the overall ethos of the label, and how did it emerge from / relate to the festival?
Since the beginning of Jazz:Re:Found festival (now in its 13th edition in the extraordinary countryside village of Cella Monte Monferrato, in Northern Italy), the vision that has united all the different operations, strategies and actions is to connect diversity to transform it into art and expression. The goal of the festival has always been to break down stereotypes and inequalities to move in unison with mankind. In the same way, Time is the Enemy, an independent label born during the Covid-19 pandemic, wants to help and support emerging artists who express the same intent in their music: sublimating melodies and different musical genres into one, magical expression. Barton Think, we believe, personifies this sensibility of ours thanks to the unique sounds and the mystery about his person.
Tell us more about Barton Think. What’s the full story of how you discovered him?
While the Reddit community Luther Blisset Junior started to take an active interest in the research of this strange character named Barton Think, Time Is The Enemy, our label, also received some interesting material related to the same artist, getting more and more fascinated by him and his music. Gradually the whole story became more intricate and new people joined the community, revealing details and sharing notes about different meetings with Barton Think, sharing also the enthusiasm for the work we were doing on the upcoming album. In particular, Ben Nessmann played a key role in understanding more about this emblematic character who still remains a mystery.
According to Discogs, two prior self-releases from Barton Think (‘From Dollars To Mars’ and ‘The Jazzman’) appeared in 2003 and 2007. But they’re really not very accessible, having been limited self-presses. What’s the story with those records, and do you have access to either of them?
Given the amount of material we received, as a label we have decided to focus on the singles that we have been able to credit to Barton Think with certainty. In fact, although we believe ‘My Last Album’ is the most complete collection of the extraordinary work of this artist that has come to us, we are sure that there are still many tracks to be discovered. The mix proposed for this occasion is a good example of the richness of the material collected, including a couple of tracks not released in the official album. Enjoy
As a recent Reddit thread shows, you don’t actually have much contact with Barton Think. He only authorised the project through fragmented voice notes sent to the label. Communication-wise, that’s a very unique situation, and it could only happen today. Are you fans of this approach to releasing music and liaising with artists, and do you recommend it?
We generally like to follow the traditional approach with our artists, but in our more and more ‘contactless’ society, you never know. We’re ready for anything :).
In fact, with the other artists we endorse, like Ze in the Clouds, we want to be there, to support the artist step by step, paying attention to every possible musical and personal development. Here the story is a little different, but intriguing: we feel very lucky to be in possession of the material that we have and that we can offer you today. It motivates us to find out more about Barton Think, hoping one day to be able to work also personally together.
Who is Ben Nessmann, the figure whose out-loud readings of Barton Think’s spoken word pieces have been published to Spotify?
Ben Nessmann is our blessing. Based on what he told us, he is a journalist that in the past has been lucky enough to have contacts with Barton Think. Reading about our project he gave us as a present (it is really the case to say so) some of his notes about his meetings with the artist and he read them for us. He is still looking for Barton Think as we all do.
What is the relation of Austin, Texas to the project?
It seems that Austin is only one of the many places where Barton Think has been sighted recently, as well as Medellin (Colombia), Berlin (Germany), Essaouira (Morocco), etc. It is also true that in the notes of Ben Nessmann the US city has been mentioned, therefore he might live there. Or, as others say, in Montevideo (Uruguay). Yet, many clues gave us the idea that Barton Think has a strong connection with Austin, Texas.
Do you have any information about the album’s recording process; either from Colonel Red, Dynamite MC or other featuring artists?
Colonel Red is certainly a long-time friend of Barton Think. He told us that Barton Think was very integrated in the British music scene of the Nineties, working with several artists who consider him a friend. We have heard of nights spent in experimenting with samples and tracks in an almost maniacal way, but it seems the best results came out after long friendly night chats and several glasses of wine.
The album opens with a sample of Duke Ellington speaking, and routinely refers back to him. Besides that, do you have any insider information on the album’s artistic influences, given Barton Think’s vast music knowledge?
Unfortunately, to date we do not know what the author thinks, nor the influences that inspired him to create the music we received. As a label, we believe that the musical material is of high value because it is perfectly placed in a new jazz context which is close to our philosophy, recognizing within the track’s inspirations of other artists such as Bonobo and 4Hero.
What else do you have planned for Time Is The Enemy?
We are constantly behind Italian and international projects. For example, our debut artist Ze in the Clouds, a very young rising star of international music, is touring Italy performing in several Italian festivals to promote his music and his fresh approach to experimentation. We can’t talk about it openly yet, but we are working on an amazing project that will shed new light on Italian music. We can’t wait to share it with you, but for now…. shhhh
Could you tell us more about your earlier 2021 release, Ze In The Clouds’ ‘Magical’? How did that one come to be?
Ze in the Clouds is a cutting edge multi-instrumentalist and producer. He developed his own vision as the result of his jazz background and his continuous studying and evolving. He shares his thousand faces without any stylistic boundaries with people and musicians who have the same vision. ‘Magical’ is the right introduction to this multi-dimensional world, an immersive experience of Ze’s vision of the world, the music and all around him.
Could you give us an overview of the tracks in the mix – are they mainly label exclusives, or is this more of an influences mix?
It’s purely Barton Think, in all its shades; some unreleased, some bootleg, some already known. ‘My Last Album’ offers different levels of sound enriched by a personal involvement that does not leave you indifferent. It is intense.
We can’t help ourselves; is Barton Think really just Four Tet?
Who knows?!? The treasure hunt will continue…
Popp mixes his own unique productions with a few of his personal favourites
Simon Popp – or Popp for short – is a German drummer who has taken the art of percussion to mew extremes, using a plethora of different instruments – balaphon, idiophones, steel drums and all kinds of bells and bowls – and production techniques to create individual, original music. To celebrate the release of his imminent second album Devi, he’s weaved his own unique sound in with a handful of his favourites for an exclusive Juno Daily – In The Mix session.
Simon says of the mix: “It’s a wild blend of solo percussion, percussion infused dance music, outernational jams and some of my own works including two cuts from my forthcoming album Devi. Enjoy the power of the drum!”
Glen Velez – Bodhran
Siti Muharam – Pakistan
Toulouse Low Trax – Jumping Dead Leafs
Fazer Drums – Sound Measures (Azu Tiwaline Rework)
Felix Kubin – Musik für neue Büromaschinen
Family Of Percussion – Message To The Enemies Of Time
Popp – Xolotl
African Head Charge – Dervish Chant
Ogoya Nengo & The Dodo Women’s Group – Bunde Dub (Orson Dub Mix)
Simon Barker – Ground To Foot Learning
Martin Brugger – Scanner
Popp – Higlehasn
Our guest editor Amon Tobin selects Calgary maverick Little Snake to get In The Mix – and then grills him for answers
pic – Julian P Gagnon
When Amon Tobin signed up to be our guest editor for the week, Canadian producer Little Snake was an obvious choice for the In The Mix section. His productions for Flying Lotus’ Brainfeeder are vivid, manic, complex and disorientating, and his DJ sets – like the one for the LP launch for Amon’s Two Fingers album – are no less visceral.
“This mix is a reflective experience on what it is like to truly and creatively find yourself after a long time alone, mixed with a blistering desire to have a room of sweaty people mosh,” says Little Snake, real name Gino Serpentini, “Consisting of almost entirely unreleased music from me and my friends, it spans a wide array of genres and sounds at a nauseating rate. It is the direct recording product of missing rage. Side note: If the mix needs a name call it Little Snake: Miss The Rage.”
So, enjoy the mix and scroll down to see Amon grilling the man himself in his own inimitable style
JIMMY EDGAR – CROWN
FLYING LOTUS – USING WHAT YOU GOT (LS EDIT)
LITTLE SNAKE – ID
LITTLE SNAKE – ID
DMVU – ID
DMVU – YELLAH TAPE
ALEXANDER PANOS – DEREALIZE
LITTLE SNAKE – ID
LITTLE SNAKE – ID
BRODINSKI – FAST x G JONES – TIME (LS EDIT)
LIL WOP – WOKSTAR (LS ACID TRAUMA EDIT)
LITTLE SNAKE – ID
MODESELEKTOR FEAT. FLOHIO – SOCIAL DISTANCING (LITTLE SNAKE REMIX)
LITTLE SNAKE – ID
G JONES/EPROM – WARRIOR (VIP)
GLEESH – PEW PEW (SABROI EDIT)
HOODRICH PABLO JUAN & JOSE GUAPO – CANT STAND IT (PROD. JIMMY EDGAR)
MR CARMACK X SALVA – ID
ID – ID (LS RECONSTRUCTION)
LITTLE SNAKE – ID
LITTLE SNAKE – ID
LIMBO – CONTROL (LITTLE SNAKE REMIX)
Amon: I’ve often thought music gets caught between art and entertainment. sometimes being both and sometimes being neither. more often than not though it’s one or the other as the two things serve different masters. would you say it’s the artist or the listener who decides and where do you see your music sitting on this spectrum?
LS: Really good question man. I’ve always said that most of my music sounds like dying on acid with no concept of time or space and suddenly a couple of lex luger snares and ad-libs come in. I don’t know. People don’t always wanna be serious and obviously neither do I, and sometimes the worlds collide. I think at the end of the day you have no choice on what mood somebody is in so you might as well just be free to explore what you like with no limitations, because that seems to be the generalized expanded culture of music now.
Amon: Do you think there is a link between the monetary devaluation of music and the cultural shift towards casual istening? i.e listening while doing other things rather than listening as an activity in itself.
LS: Definitely, but I think the ultimate devaluation process came when we jumped full force out of physical record sales into streaming. The link is that we can stream instantly and agonizingly scattered in how long we listen to a composition, but it also gives us the accessibility of materializing beauty out of thin air.
Like, when we wrote ‘Loophole’, there was clearly zero notion of what would sell but it nonetheless did ok on streaming platforms.
The advancement of technology really is just a reflective microcosm of the chaotic and lawless nature of our being, so tropical house vs. polyrhythmic breakcore will ultimately do as well as it truthfully speaks to us.
Amon: Do you think there’s a link between casual listening and casual production? i.e. music which is transient in value and appropriately disposable as implied by the nature of streaming platforms?
LS 100%. It’s so often spotify will recommend me some trap beat with a mix that sounds like it was sterilized by a dentist but also I get so excited when they come on sometimes that it ends up being my whole week in the studio.
I see what you’re getting at here. Streaming is definitely producing a lot of volatile cycles of garbage. But I literally order take out every night and do the same thing so, like I said, it is ultimately reflective of the capitalistic human to propel this issue. I think streaming is dope otherwise.
Amon: if you had a car accident and weren’t insured.. and as a result were bankrupted by hospital bills.. which lead to a daytime drinking habit, chronic depression and eventually homelessness… what’s the one synth you’d keep?
LS: Very specific question Amon thanks for sharing. As you know I’m almost entirely in the box. I thrive under the immense pressure of only a broken laptop. That being said, a 303 or any clone rendition is something dear to my heart. It just makes every song better.
Amon: : Do you think 2020 might have been more bearable if people like us had stopped broadcasting how much fun we were having in our studios?
LS: A common misconception about these broadcasts is I wasn’t having fun. It is hell for me. Every day I wake up and receive emails. Studio time is nothing but a mere vessel to float me through dystopia.
Amon: How are babies both fascinating and boring at the same time?
LS: It kind of relates back to the reflective microcosm analogy of streaming. It is pure nature. Human essence, concentrated. And for that reason, it’s deafening.
Amon: Do you see NFT’s as a fad or a viable road to sustainability in music?
LS: I have a lot of people close to me that will hate me for saying this but no. There is a lot of byproducts of crypto and minting that could eventually be sustainable functions of society but we jumped into the NFT thing so fast it really was a gold rush and nothing but. Cool shiny stuff tho.
Amon: Do you ever read reviews of your own music and if so how would you characterize the experience of someone describing something you made back to you?
A: Yea they are out there. Let’s take a trip down memory lane. Remember the deafening echochamber of the wondrous perception of babies? That’s how y’all sound describing my tunes.
Amon: Who the fuck is satoshi?
I am like 99.99% sure it’s a Papa John’s dipping sauce.