Garden Festival 2014

ride the wave..

Just back from Tisno, another absolutely belting installment of the Garden Festival..  Huge thanks as ever to Nick, Eddie, Charlotte, Gail, Petra, Damo, Dave and all the festival family who made it such a great few days.

Also great music from Greg & Marco, Tom & Bonar & Justin V, plus:  high fives to Rob, Cecilia, Scandinavian/NYC rave squad, Ben UFO, Dan, Matt & R$N steppers, Duncan, Tiago, team Paqua, the sound guys, the dancers and everyone we met, hugged, tripped over along the way!


The Pool welcomes Jan Schulte!

willkommen

 

How are things in Dusseldorf? What are you currently up to?

Things are working up in Düsseldorf! A lot of new projects are evolving at the moment, in the city itself, or around the city.

I am still recovering from my ride to Amsterdam last weekend, where we celebrated the release of Montezumas Rache’s “Wu Du Wu”, had 6h Themes For Great Cities Instore at Redlight Records, and where I met Young Marco to talk about our upcoming live-show.

Do you mean projects in general or music related projects?

Music related projects, there are new Themes For Great Cities releases planned, a new Edits Des Amateurs release, a final release on Verein freier Menschen & Musik is in the making, our Mülheim (which is a small city nearby) friends Tim Schumacher and LL DJ are planning to setup a new label, Lucas from Stabil Elite has a new project called “Bar” coming out soon as well.

And thats not even all!

Sounds very healthy. How is the music scene in Dussledorf? Does Dusseldorf have a ‘sound’ that can be traced back to the city?

The places to celebrate music and especially that Düsseldorf sound are rare, but there is a eruptive underground scene that relates to the musical history of the city. The Salon Des Amateurs, run by people like Tolouse Low Trax, Lena Willikens, Marc Matter was and still is an important spot for the more open minded listeners.

You can hear everything from early Kraut Electronics, underground Neue Deutsche Welle dance tracks to “future-classic” experimental dance music.

Otherwise it is kind of hard in Düsseldorf to celebrate electronic dance music as the venues are vanishing at the moment, and the city shows little interest in keeping a vital scene.

But nevertheless a lot good people come up at the moment and push things!

Could you tell us more about the infamous Salon Des Amateurs?

The Salon Des Amateurs is located in the 1960s Beton building called “Kunsthalle Düsseldorf”, in the daytimes the Salon acts as the café to the museum.

In the beginning, which is almost 10 years ago now, it was generally used more like a bar, but over the years and because of the special music programm it evolved more and more into a club with extremely crowded weekend nights.

I still get goosebumps remembering the first nights I spent there, with DJs like Gordon Pohl (Musicargo), Tako (RDR), Beppe Loda, I-F and of course the hosts that I mentioned above, and lots of more unforgettable evenings.

Those nights showed me that its possible to create dancefloors with music that I never dreamt of seeing a whole room go crazy on it.

The first time they asked me to play I was so excited I had shaky fingers all night long!

You are now resident of the club. How often do you play there and do you have a music policy?

Although I was so mad excited the first nights I was invited to play, or maybe because I was so excited i got into the team really fast. Nowadays I am more or less doing one evening in the month, alongside guest DJs, or with Tolouse Low Trax who hosts most of the saturday nights. 

We also sometimes host special ambient or jazz or other experimental nights during the weekdays, but it’s more for us to show new record discoveries, or play out new stuff in the making.

My music policy is a classic “There-is-no-music-policy” policy, haha. I try to sort music by my emotional impression of it, and not by genres or styles.

I am also free to very diverse pitching ranges while I DJ, it all depends on the evening and the spirit of the moment.

Care to share 5 of your Salon favourites from over the years..

“Lobt Noch Irrt – Heizgas Meter”

This one was Tolouse Low Trax’ big salon hit,the whole room went mad everytime this was played, amazing memories

“East – Agymosas”

Another track played by Detlef (Tolouse Low Trax) that i never heard raising a dancefloor like in the salon.

“A.R. Machines – Globus”

I played this out at one of my first evenings in the Salon, and the whole room was jumping, since that moment it became a classic.

“Sparks – Tryouts for the Human Race”

This sounded like it was made for the sound system in The Salon, when the live drumming kicked in it was always some very special moment

“Plaza Hotel – Bewegliche Ziele”

At 33rpm, i think Tako played it out the first time, and it instantly became a Salon Anthem.

You record and DJ under different aliases. Can you takes us through each of these and how they differ in sound?

There was never a plan to collect alter egos, haha.. but somehow it ended up like this.

The Wolf Müller records are krauty, percussive drum tracks, that also happen in collaboration with befriended musicians. I always felt Wolf Müller not really as a person, more like a spirit that wanders around and is always there when this german tribal dance thing happens.

https://soundcloud.com/themes-for-great-cities/sets/tfgc008-wolf-m-ller-balztanz

The Bufiman tracks are my approach to four-to-the-floor orientated dance music, with more classic structures in their arrangements. I recently finished a new Bufiman EP that will be announced soon on a super nice and classic dance label!

For that Edits Des Amateurs record Arne from Themes For Great Cities came up with the idea for the name “Diskoking Burnhart McKoolski”.. as i didnt want to use my real name for edits at that time. It refers to the german label and huge german dance music distributor from the 1980s, Bernhard Mikulski.

Can you tell us about the mix you recorded for us?

I think it gives a nice overall impression of styles i like.. going from spiritual ethno-dances to amazing music from friends like Harmonious Thelonious, containing some of my own edits, a very drum orientated track by Circuit Diagramm from Hamburg, some more percussive edits, Sotofett’s Mix of “Denaji – Wuhti” and at last some local classics with Die Partei’s “Nord-Süd-Fahrt”.

What are you up to over the summer months? 

I am heading to London on June 19 for a small Themes For Great Cities special at Plastic People and a Boiler Room afternoon session on Friday 20th, already looking forward! : http://www.residentadvisor.net/event.aspx?603969

Next big thing will be the premiere of the Young Wolf live show at Düsseldorf’s Open Source Festival, on the same stage as Dean Blunt, Panda Bear, and lots more.

Then we are also planning a small TFGC Summer Party in collaboration with indepent event calendar “suffon.de” on August 2, and I’ll also leave Düsseldorf for some very nice small hippie festivals!

And finally your ultimate Pool Party line up?

Grill Chef : Definetly the Georgian dudes that work at the Salon Des Amateurs, Alex, Kakha, Beso and Luca. They are pro-level at the grill.

Manning the Stereo : Tako from Redlight Records & DJ Armin Schmelz from Tingel Tangel Vienna, my favourite Discjockeys.

Serving Cocktails : The team from the King Georg Bar in Cologne, they know how to get you intoxicated!

Thanks Jan, have a listen to Jan’s mix for The Pool here:
https://soundcloud.com/the-pool/jan-schulte-pool-mix

Catch Jan in London on Thursday at Plastic People and in the Boiler Room on Friday.http://www.residentadvisor.net/event.aspx?603969

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Greg Wilson Chats to The Pool About His Brand New Mixtape and Record Label

Sounds of the Summer

What was your creative process for compiling this mix?

Kermit and his writing partner Luke (EVM128) had already recorded 7 Blind Arcade demos, and it was those tracks that sold me on the project. I then listened through a number of works in progress, stuff without vocals, or with only part of them recorded, and picked out another 5 tracks. With the mixtape idea in place I’d already planned to contribute additional material, via a number of edits I’d put together that complimented the Blind Arcade vibe, creating sections for Kermit to lend his vocal to – also Katherine and Carmel Reynolds, who I’d just recorded with for the first time (they appear on the about to be released Schooled In The Classics 12″) , for I was sure they could make a telling contribution, which they most certainly have, plus Tracey Carmen, who I’ve worked with for many many years (and also happens to be my wife). Some of these edits I brought to the table, others were Kermit’s suggestions – eventually half-a–dozen of these would make it onto the finished mixtape.

It was then a case of 3 pretty intensive days recording in Derek Kaye’s studio. Intensive in a good way though, working, for the most part, quickly and decisively, the ideas really fluid. We even found time to record a new track Kermit had just written, the 19th and final one to make the cut,  and very much the joker in the pack – ‘Red Stripe And A Spliff’. We then systematically mixed the stuff off, again without dwelling too long on things – the nature of a mixtape being that there’ll be those rough edges. It needed to retain some of its knockabout feel, for this is part of its charm, whilst at the same time we wanted to add further depth, so we paid particular attention, where possible, to the bottom end. It needed that fuller flavour.

Eventually I had all the individual tracks and began the jigsaw of piecing them together into a whole, connected via the transitions I created. Again, I was able to work fairly quickly, and, fortunately,  didn’t really get bogged down at any point along the way.

The mixtape was completed on May 28th, the day Maya Angelou died, with some of her wise words the final addition. It was a fitting conclusion – I knew it was complete then.

We love the artwork for this mix over here at The Pool could you tell us a bit about who created it?

The original hooded man image is from a San Francisco poster by Bonnie MacLean from the psychedelic summer of love in 1967. Dominic Mandrell, who did the Schooled In The Classics coat of arms, adapted it, adding the appropriate title within the purple globe. For the cassette inlay idea, which includes the tracklisting, we went for a distressed look, inspired by a well worn  inlay I’d seen of ‘Revolver’ by The Beatles online.

The project seems to be harnessing some of the energy of the 60′s psychedelic movement. Was that a big influence on the project? How did you go about channelling that into the mixtape?

I’m something of a 60′s obsessive – it’s been a main area of interest for me since I began to devour everything Beatles, not long after I’d packed it in as a DJ in the mid-80′s. I remember the taste of those psychedelic days back in the 60′s, which I experienced as a child, and although the full Haight-Ashbury trip never quite reached New Brighton, where I grew up, its influence was clear in the music of the period – this strange otherworldly flavour that even, sometimes, made it into straight up pop records of the time. The title alone, ‘Blind Arcade Meets Super Weird Substance In The Morphogenetic Field’ evokes those times, although, in reality, this was inspired by the Dub classic ‘King Tubby Meets Rockers Uptown’, plus a nod to comic writer Alan Moore (‘super weird substance’ being a term he mentioned in an interview, as a quantum physics expression relating to information), and the man who came up with the theory of morphogenetic fields, Rupert Sheldrake. So yeah, there is certainly a sprinkling of psychedelic fairy dust throughout the mixtape, but there are also definite links to the second summer of love in the late 80′s, including that free spirited De La Soul album ’3 Feet High And Rising’, which was the soundtrack of the summer months exactly 25 years ago. I suppose it’s this summer of love connection that relates strongly to the mixtape – we very much see it as something which totally comes into its own with a few rays of sunshine, an addition to the summer soundtrack for sure.

Could you tell us about how Howard Marks came to be involved in the project?

He’s a friend of Kermit’s. We recorded the part from Genesis at my house, which slotted it in at the intro of ‘Universal Prayer’, Kermit’s ode to the green stuff. Howard was obviously the ideal person for this role, given his history. We also recorded Kermit’s poem, ‘Lies And Other Fools’ that night, which symbolically draws a line under his murky heroin addicted past, which became public knowledge during his Black Grape infamy of the mid-late 90′s, the period when he was last in the limelight. We put this out as a limited run single sided 7″ for Record Store Day, and it’s in complete contrast to the positive life-affirming qualities of the mixtape. Not a comfortable listen, but a necessary symbolic part of our process. Kermit had, of course, nearly died, having contracted septicaemia from a dirty needle, having to retreat from the music business for the following decade whilst his health deteriorated and he waited to have a heart operation that had resulted from the infection. Thankfully it was a complete success, setting him off on the road to redemption, and culminating in this latest work.

You used to manage Kermit and the Ruthless Rap Assassins. Do you have any anecdotes you can share with us about that incredibly fertile time for British music, especially in Manchester?

The Assassins were as Manchester as they came, but they didn’t have that baggy thing going on, and they happened to be black, which sadly worked against them, and meant that lesser bands were getting more airtime because they fit the Madchester stereotype of the time. In context to the mixtape, what was interesting is that, on the day it was completed, by total coincidence I came across an online review of the ‘Killer Album’, from when it was re-issued a few years back. There’s been some great stuff written about the Assassins down the years, but this guy, from Switzerland, had really got what we were up to back then, and articulated it so well. It was a very karmic thing to be reading on that particular day, and sums up the Assassin’s role in the Manchester narrative of the late 80′s / early 90′s:

http://www.rapreviews.com/archive/BTTL_rra-killeralbum.html

 Structurally this mix reminds us of a classic Hip Hop mixtape. Is this what you were trying to capture? Is Hip Hop still a big influence on your work?

My relationship with Kermit is tied in with the evolution of the UK Hip Hop scene back in the early-mid-80′s. He was one of the kids that used to come to Legend during my time there, and, even though he’d started out as a Jazz-Fusion dancer, was a big fan of the Electro direction I took during 82/83. He was one of the founder members of Broken Glass, the now legendary breakdance crew, and the first time he recorded was on the Broken Glass track, ‘Style Of The Street’, which I produced in 1984 for what turned out to be the ‘UK Electro’ project. We also, of course, worked together when I managed / produced the Ruthless Rap Assassins, so, as you can see,  our musical relationship has Hip Hop at its very core. Mixtapes are very much a part of the Hip Hop approach, so this felt like the right way forward for Blind Arcade to be introduced.

It’s great to see Kermit making such a triumphant return having been seemingly lost to the demon of addiction. Could you tell us about how it’s been working with him again and accessing his creative energy that seems to have lain dormant for too long?

He’s an older / wiser version of the guy who I last worked with during the Rap Assassins days, who, was slipping deeper into heroin addiction towards the end of our association. We remained friends after it had all fallen apart, and I was touched when, a few years later, he came to Liverpool, during a particularly difficult time for me, to play me a cassette of the Black Grape album, just ahead of the final mixes, and ask my opinion. I was bowled over with what I heard, and the album would go on to top the chart, catapulting Kermit to pop stardom. With Kermit and Shaun Ryder both junkies, Black Grape was always going to implode at some point, but they had a decent innings, and for that golden period they were the hottest band in the country. After that he launched a short-lived project called Big Dog, before distancing from the business to sort out his health issues and await the op. Once he realised he’d been given another chance in life he threw himself, like a man possessed, into writing new tracks and also poetry. What impresses me so much is that he’s been able to approach things with such positivity, accepting his past and embracing his future, whereas lesser people may not have been able to shed the negativity of former ways, or been able to shake off the anger of what they may have regarded as wasted years. Having crawled out of the abyss, Kermit has picked himself up, brushed himself off, and re-entered the fray with a smile on his face, not a scowl, and looking a million dollars, which has got to be a source of inspiration for anyone who’s struggling in life, be it with drug problems or otherwise. It’s that classic tale of redemption, which has been told throughout time, but given a contemporary context here. I have to say that it’s been a pleasure to work with Kermit again – I’ve been able to feed off his seemingly inexhaustible energy, and we are very much in accord with regards to how to move the project forward.

Could you explain to us how Blind Arcade came together? What was your role in the formation of the new group?

It was the result of Kermit moving to Chester a few years back, for this is where he met Luke / EVM128 (who’s subsequently moved to London). They’d also brought in vocalists BB. James and Amy Wilson on some of the demos, BB. taking the lead, to great effect, on ‘Give It Away’. I’d initially declined Kermit’s invitation to come onboard as producer because I was too busy as it was, with my DJ work and the rest of it, but, once I’d heard what they were doing, that all went out of the window. I had to get involved, for this is what I’m all about – you rarely get the opportunity to contribute to a project of this type of quality, so I wouldn’t have been true to myself had passed the offer up.

 

This mixtape also announces the beginning of a new label for you, Super Weird Substance. Could you tell us a bit about what you would like to achieve with the label?

I just want to put out good music that people enjoy, both tracks that are commercially accessible, and those which have more of a cult aura. At the same time we want to develop the live side of things, either stand alone Blind Arcade gigs, or full Super Weird Happenings, a series of which we’re currently planning for a handful of cities in the autumn. Moving onwards, we want to release an official Blind Arcade album, combining tracks from the mixtape that we’ve worked further into and new recordings – this is looking forward to 2015, when we also want to have a greater presence for both Blind Arcade and Super Weird Substance on the festival circuit, both in the UK and Europe.

Thanks Greg!

Listen and download the new mixtape here: https://soundcloud.com/gregwilson/blind-arcade-meets-super-weird-substance-in-the-morphogenetic-field

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The Pool at Wildlife 2014

Low Life

Wildlife 2014

Over the course of a blisteringly hot weekend in the jungles of Dorset the venerable clubbing institution Lowlife performed the following magic trick…..

With weather on the warm side and everyone in full party prawn mode the Friday started off in the big top with a wonderful set of easy glide disco and some cracking edits from Lowlife’s own Misiu. Live music followed from Sexual Chocolate which saw party staples covered with an unctuous funky coating that the crowd devoured with gusto.

Pool boys Bob the Talc and Spice Route then had the honour of spinning a few; a light and airy spritz taking in PJ’s classic rub of the Orb as well as a few choice platters from the roster. Next up was our man Nice Guy Henning aka Telephones. As well as charming half the festival with his Nordic clemency Henning had packed a strong bag of plump 90’s piano clappers, exotic holiday chuggers and a rather sensuous dub of Marianne Faithful ‘Sex With Strangers’. The crowd were rapt with it and by the end of the two hours everyone was primed for Mr Fulton.

Closing things out in the big top Maurice beamed from ear to ear as he worked through house and disco classics with occasional dalliances with darkness. As the big top closed the throng moved in to the woods to the smaller woodland party hut. Ray Mang held court with aplomb whilst the Pool were in attendance giving a master class in funk energy.

Saturday began with Nancy Noise laying out a delightful aural brunch whilst the Pool leafed through the broadsheets with a frothy. It proved to be a personal highlight with rousing latin numbers rubbing together with Jean Luc Ponty album cuts and smile inducing cover versions. Later in the afternoon Gatto Fritto treated the masses to a suitably catholic collection of afro, disco and pop. Smiles were broad and a dance floor led by the caped crusader Horton Jupiter got loose and limber.

Next up the man with the most Balearic pair of trunks in the world Phil France took to the stage to perform songs from his record the Swimmer. An accomplished live band treated the crowd to a lush sound that left most eyes pricked with tears.

Later in the big top the lowlife overlords took the helm. From Frank Broughton’s buoyant selection of wonky discoid gems through to Mr Brewster’s tender trawl through lowlife classics old and new. The crowd, increasingly feral but nonetheless charming, were in fine voice and some vigorous shapes were cut.

On towards the pleasure hut and Piers H from the Soft Rocks fam sprang open a bulging wallet of house in many different shades. Moving though moments of deep tribalism, jacking territory including the Talc’s fave Armando jam and of course the money shot of Justin V’s mix of Talking Jungle. Mr Tantum took the reigns after this and a similarly bashy selection raged on including Motorbass Ezio.

The Sunday dawned and Mr Cook treated everybody to a sterling set of reggae breakfasters that made every little thing alright. It was at this point that the Pool had to repack the wagon and make haste to Mantua but reports tell us that Matthew & Jolyon put in a wonderful stint to close out- gutted to miss out and something for the to do list next year!

Big thanks to Lowlife for the hospitality!


Justin Vandervolgen – Open dates

play by MY RULES

Justin Vandervolgen UK/Europe

Available dates on the forthcoming Justin Vandervolgen tour of UK/Europe.

Please get in touch with any enquiries. Mid-Week and Sunday options very welcome.

 

Friday 20th June : Bristol

Saturday 21st June : Open

 

Friday 27th June : Stockholm

Saturday 28th June : Open

 

Friday 4th July : Garden Festival

Saturday 5th July : Garden Festival

 

Friday 11th July : Lisbon

Saturday 12th July : Open

 

Friday 18th July : Open

Saturday 19th July : Open

- – - – - – - – - – - – - -

For a taster and to hear what Justin has been upto check the links below.

My Rules 02 / J.V Soundcloud / J.V Facebook / J.V Podcast


Greg Wilson Summer Schedule – 2014

Nevernotworking

Greg’s busy summer kicks off this weekend, catch him at a spot near you over the coming months..


Pleasure swell…

DJ Harvey on tour

A little photo diary from Harvey’s recent European jaunt, hope you all enjoyed if you turned out.

And yes that is Glaswegian sweat dripping from the ceiling…

Back in June for Meltdown Festival in London…


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Harvey

Take a ride on Mr Sen’s Ghost Train..

WIN BIG…

We at The Pool love a trip to the fun fair and when we last visited we took ourselves for a fright on Mr Sen’s Ghost Train.

We speak figuratively of course but for those in the know this new single from Richard Sen dropping on Especial comes with all the eager anticipation of your first whirl on the dodgems…

A swirling vortex of cavernous proto house drums, ebm throbs and discombobulated apache chants ‘Ghost Train’ has caused quite the storm already with Hugo Capablanca, Mark E, Andrew Weatherall, Cosmo Vitelli and Bad Passion already heavily repping the test pressings that went out at the start of the year.

On the flip a more gouged out dub sits alongside ‘Meteor Shower’ a workout that sees icy trills of keys marry with pounding percussion hits and searing bursts of white noise.

To celebrate Mr Sen’s return to the fair we have 10 copies of his fantastic UK house compilation cd ‘This Ain’t Chicago:  This Ain’t Chicago: The Underground Sound Of UK House & Acid 1987-1991’ to give away.

To grab one simply email thomas@thepool-london.com with the answer to the question…

“Which friendly ghost had a film made about him starring Christina Ricci in 1995?”

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a quick chat with Harri & Dom..

SubCulture

In advance of Harvey dropping in at Sub Club in Glasgow this weekend, we caught up with main men Harri & Domenic for a very quick chat…

 

Hi Guys, thanks for taking a few minutes for this, So… Harvey is in next weekend then. I believe he’s not played in Scotland for nearly 15 years, but have your paths crossed a great deal before?

I met Harvey last time he played the Sub Club and once I think in Plastic People, when it was on Oxford St…..so not a great deal.

I imagine the Californian surf’s a bit different than Greenock!  but have either of you ever had designs on moving somewhere with a slightly less challenging climate/different dancefloors?

Domenic lived in Barcelona for a few years and I stayed in Aberdeen for a few years…does that count ?

Following on from that, how much do you tailor your sets to the guests you have down to the club, as its been a fairly diverse selection over the years?

Just depends on the night really, usually I would try and play an appropriate warm up and not try and steal the guests thunder.

Also (and be honest now) have you had guests through where you’ve thought, ‘hmmm maybe that didn’t really work!’ ?

Most of the guests we have had generally know the score and play well. Its all down to personal taste though….just because I might not perhaps enjoy someone else’s music doesn’t make it rubbish. One mans meats another mans poison.

Obviously you’re famous for holding it down at the Sub Club since time immemorial, but in terms of travelling & playing elsewhere which I know you do pretty consistently, what other spots particularly keep calling you back?

I always enjoy Ireland, festivals in Croatia…Edinburgh was amazing a couple of weeks back. London’s usually good….everywhere really :)

DJ’ing double acts: always seem a good idea to me, enabling you to have a long piss or fall over drunk safe in the knowledge your faithful partner is doing the business in your absence! Do you guys still relish playing back to back & how do you structure it when you play away from Sub Club?

Normally when we go away, we toss a coin to see who starts first, and Domenic always wins….strange.

Obviously Sub Club’s licence is until 3am, I always thought that kind of ‘line in the sand’ (if you like) allows DJ’s to leave them ‘wanting more’ and make real end of night moments that stay with people, rather trying to pump life into a dwindling dancefloor at 9am! What’s your take on that?

I completely agree, its good to see the finishing post ahead and go for it!

You have also been doing some parties at Dance Tunnel in London recently, how’s that been going:  Lots of exiled Scots out on manoeuvres?

Yes, we had a ball at the Dance Tunnel a month or so ago, was like a Scottish reunion. The Nest in Dalston last week was also really good.

I read that the Boiler Room you guys did with Optimo got like 40,000 views or similar, Does the growth in popularity of that medium surprise you at all, and have you checked out many other BR shows online?

My son Jasper introduced me to the Boiler Room, I have only really watched Mr Gs Boiler Room. It is a concept I find hard to grasp or understand, but hey ho, I’m not complaining.

Finally, 20 years of Subculture: can you still remember the first one and any records that might have got played?

No :-P ……The saying goes, if you remember it, you weren’t there!

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DJ Harvey – Wildest Dreams

LA wrecking crew

DJ Harvey releases a Wildest Dreams’  7″ for Record Store Day on Smalltown Supersound today.

Wildest Dreams are a Modern Day Equivalent of the L.A wrecking crew.

They make music inspired by the landscape of L.A and it’s surrounds for your road and acid trip. The brainchild of Harvey Bassett as a means to keep his multi-instrumentalist hand in so to speak.  The album was recorded over a week a couple years ago and unearthed by Smalltown Supersound.

Hunt it down wherever you do your shopping !

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Harvey, Music, Press