Krautrock – 7th Level Music

ADULT. wants you to know that “No One Is Coming” with their new single.

ADULT. is not cooperating. For over 25 years, the dystopian Detroit synth-punk institution founded by Nicola Kuperus and Adam Lee Miller has embodied steadfast frustration, distrust, and apprehension. One might expect the edges to soften with time, but ADULT. is not interested in the comforts of legacy. The duo’s music has never sounded as visceral, urgent, and downright angry as it does on the culminating, uncompromising Kissing Luck Goodbye, their scorched-earth 10th LP and fourth with Dais Records.

Built with upgraded gear and a whole new library of sounds, the material is crushingly dynamic, louder yet clearer, with Kuperus’ commanding delivery given greater prominence in the mix, outlining an arsenal of vivid, caustic calls, chants, and musings. Laughter, whether in the lyrics or as a possessed presence, serves as a leitmotif that speaks to the menacing absurdity of modern times.

“No One is Coming”, the album’s lead single is a poignant, bassline-driven industrial anthem that turns feedback into melody, the track attacks inaction in the face of fascism —

NO ONE IS COMING TO YOUR RESCUE… A lyric that was written in early 2025 and is even more relevant on its release date a year later. A song speaking to moral collapse and political corruption “to a T”. These subhumans attempting to run the show are more concerned with cashing in and political cosplay than the well being of mankind. While working on this album, I read an article from an esteemed environmental scientist about “what’s coming in the future”. What stuck with me was their point that we are entering a new phase in existence where the most important thing we can do is know our neighbors and know the strengths of each other and what resources everyone has. Who needs extra care? Who is on their own? This song was written as a call to arms. Be alert. Be aware. Be prepared. Stand up for yourself and look out for your community. We are better when we are united. Social media is wearing us down. Deluding us. The political landscape is horrifying, distracting, deranged and unhinged. We are seeing this go down in real time right now in Minneapolis… NO ONE IS COMING TO YOUR RESCUE… except ALL OF US! Keep speaking up! Keep using your right to protest and most importantly keep showing kindness to one another.

– Nicola Kuperus

Listen / Share / Playlist “No One Is Coming” | Official Video

ADULT. is known for high-stakes catharsis on stage, and recently deployed their back catalog of bass guitar songs from the 2000s, retracing the prescient Anxiety Always era partially out of necessity given the temperature of today’s political and technological dread. The response was instant and palpable: “We were in Paris, and the kids were stage diving. And I was like, this is rad. This is kind of the energy I want to get back into,” Kuperus says. The epiphany coincided with a series of setbacks — Kuperus’ bouts with chronic vertigo, the loss of their close friend and collaborator Douglas McCarthy of Nitzer Ebb, whom the album is dedicated to — all made profoundly worse under the looming regime. “We were stuck in the mud for quite a while after the election,” Miller says. “We had all the concepts, but we would just be like, ‘What’s the point?’” With failing studio air conditioners and dead car batteries (their sacred space for listening back to recordings), they often joked that the album might be cursed. Kuperus adds, “We’re just like everything’s breaking. We’re breaking. We’re broken.”

The sentiment didn’t stick, however, as they found themselves ultimately too super-charged by fury to sit still. From watching Musk’s disgusting nazi salute to seeing their community struggle under the new regime to waiting months for a tariff-inflated replacement subwoofer, the vibe heading into Kissing Luck Goodbye was four middle fingers pointed straight up.

Rather than retreat, ADULT. focused on the process, revisiting their setup, complete with their first new mics in 20 years. They obsessed over textures, amassing a massive sample library taken from old thrift-store albums, previously used and unused ADULT. ingredients and new field recordings, running myriad items, including the buzz of shop vacs, through various pedals. Pause Kissing Luck Goodbye at any moment, and you’re likely to count a dozen things happening at once in strange, dizzying, and dissonant harmony. Together with producer Nolan Gray, whose involvement resulted from a chance encounter (he happened to be the host of the short-term rental property where the two stayed — maybe there is still some luck, after all), the band pushed themselves harder than ever before to build a world with this record.

Songs took shape from unusual places: “No One Is Coming” got its tempo from a skipping record they captured through a cell phone during a bnb stay for Kuperus’ 50th birthday. “None of It’s Fun” blitzes with breathless urgency, high-speed glissades, and pointed lines like “OH I AM TEARING MY GUTS OUT / LOOK AT ME…DO YOU THINK THAT THIS IS AMUSING?” The closer, “Destroyers”, was the last song they recorded and encompasses the techniques that ADULT. has learned not just throughout the making of Kissing Luck Goodbye, but across their quarter-century as a pioneering collaborative project.

ADULT. Live Dates:

Apr 10: Pittsburgh, PA – Spirit Lodge
Apr 11: Baltimore, MD – Ottobar
Apr 12: Brooklyn, NY – Good Room
Apr 14: Raleigh, NC – Kings
Apr 15: Atlanta, GA – The Earl
Apr 16: Jacksonville, FL – Jack Rabbits
Apr 17: Orlando, FL – The Social
Apr 18: Miami, FL – TBD
Apr 21: New Orleans, LA – Gasa Gasa
Apr 22: Houston, TX – White Oak Music Hall (Upstairs)
Apr 23: Austin, TX – 29th Street Ballroom
Apr 24: San Antonio, TX – Paper Tiger
Apr 25: Denton, TX – Rubber Gloves
Apr 28: Albuquerque, NM – Sister
Apr 29: Phoenix, AZ – Rebel Lounge
Apr 30: San Diego, CA – The Casbah
May 01: Los Angeles, CA – Hollywood Forever (Masonic Lodge)
May 02: San Francisco, CA – Rickshaw Stop
May 04: Portland, OR – Mississippi Studios
May 05: Seattle, WA – Barboza
May 08: Minneapolis, MN – 7th St. Entry
May 09: Cudahy, WI – X-Ray Arcade

Keep your mind open.

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[Thanks to Bailey at Another Side.]

Rewind Review: Earthless – From the West (2018)

Recorded in San Francisco on March 01, 2018 just before releasing their Black Heaven album, Earthless celebrated that occasion with this stunning show that, thankfully, was recorded for all of us.

From the West is a blistering set that starts with the Black Heaven title track that unloads so much power that you wonder if they’ll have anything left for the rest of the set (Hint: They somehow always do.). “Electric Flame” is a rare Earthless track with vocals by guitarist Isaiah Mitchell and it reminds me of something by Blue Cheer with its driving force and thick grooves from Mike Eginton‘s bass.

“Gifted By the Wind” always makes me think of Robin Trower and his influence on Mitchell’s playing. Its transition into the always transcendent “Uluru Rock” is great. Mario Rubalcaba‘s snare hits on “Volt Rush” sound like he’s going through drumsticks like faster than his drum tech can bring them. Their cover of Led Zeppelin‘s “Communication Breakdown” has become a fan-favorite and they somehow make it even fuzzier.

The album / set concludes with the hypnotic “Acid Crusher,” which highlights the band’s often-forgotten (or flat-out ignored) love of krautrock. Eginton and Rubalcaba combine to create a mesmerizing groove while Mitchell makes you think you might’ve accidentally inhaled crushed LSD with his phenomenal playing.

A live Earthless performance is always something special and difficult to describe. From the West is a close proximity to the experience, leaving you stunned that three people can produce that much power.

Keep your mind open.

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Review: Go Kurosawa – Soft Shakes

If you’re Go Kurosawa, former drummer and singer for psych-kraut-who knows? rockers Kikagaku Moyo, what do you do after your band’s final tour and album? You create an album on which you play and write everything and it becomes Soft Shakes.

It’s a lovely record of Kurosawa exploring his stunning talent to play anything by ear and to create whatever was in his head at the time without having to shape it with other people. “Moon, please” is a fun yet slightly haunting track layered with hand percussion, clarinet, and other stuff hard to define. “Sada no umi” mixes, I think, found sounds with trippy synths and Kurosawa’s vocal sounds.

Both “Soredesho?” and “Green Thing” show us how well Kurosawa can play acoustic guitar and mix them with various hand percussion instruments to create a relaxing effect perfect for zoning out like Kurosawa seems to be on the album’s cover. “Autowalk” is a good example of krautrock / kraut-electro’s influence on Kurosawa. The looping synths, robotic beats, and mantra-like vocals are already cool enough, but when the trumpet hits? Forget it. It’s almost not fair.

“Jungle Cooking” is downright groovy and would fit onto any trip-hop or 1990s rap album you’d like. Cypress Hill could easily drop several bars on this. “Rice Harvesting Day” almost feels Middle Eastern, and Kurosawa’s electric guitar work takes the main stage this time. Is there anything this guy can’t play well? “Cloud Rock” ends the album with a floating groove.

It’s a great solo debut from Kurosawa. I look forward to more.

Keep your mind open.

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[Thanks to Kate at Stereo Sanctity.]

Top 25 concerts of 2025: #’s 15 – 11

More great live shows for you from last year! Who’s in the top half of the list?

#15: Johnny Jewel – September 25, 2025 – Levitation Austin, Austin, TX

Mr. Jewel opened for his own band, Desire, and, for my money, put on the best show of the night at the first day of Levitation Austin last year. It was a showcase of his film scores and covers of other film music ranging from his score to Drive to a David Lynch tribute and giallo-horror tracks.

#14: The Black Angels – September 28, 2025 – Levitation Austin – Austin, TX

The Black Angels always play Levitation. It’s their festival, after all. They help curate it. It was another fine set from them that included many tracks they don’t play often – one of the advantages of not having to promote a new album.

#13: Yin-Yin – September 27, 2025 – Levitation Austin – Austin, TX

These Dutch funk-rockers played their first gig in the U.S. ever at Levitation Austin last year and had the entire place jumping by the end of it. This was easily the grooviest show of the entire weekend, and everyone was buzzing the rest of the day afterwards.

#12: DITZ – June 27, 2025 – Levitation France – Angers, FR

This was blistering post-punk in a heat wave that had gripped almost the entire county. You can see the dust being kicked up from the mosh pit in that photo due to the arid conditions of the park in Angers where Levitation France took place last year. The lead singer had run off-stage, into the nearby lake, and returned covered in seaweed by the end.

#11: A Place to Bury Strangers – September 28, 2025 – Levitation Austin – Austin, TX

The Palmer Event Center in downtown Austin, where Levitation Austin took place last year, is a big venue…and it still wasn’t big enough to keep the volume of APTBS from flattening you as soon as you entered the place. Lead singer and guitarist Oliver Ackermann used the high ceiling to his delight by tossing his now-famous “half-guitar” sky high multiple times. Two friends who’d never seen them until now were left stunned by the end. “That’s like an assault,” my friend Wes said, wide-eyed and not knowing how else to describe it.

Who’s in the top ten? Come back tomorrow!

Keep your mind open.

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Rewind Review: Melenas – Dias Raros (2020)

All-female Spanish psych-shoegaze? I’m all in.

Melenas‘ Dias Raros (Strange Days) gets off to a great start with “Primer Tiempo” (“First Time”) – a song that hums and buzzes (thanks in great part to synths and keyboards from members Oihana and Maria Melenas). “No Puedo Pensar” (“I Can’t Think”) hits the theme of the album – days when you’re questioning decisions and even if you should worry about them. Oihana’s guitar strumming on it is top-notch.

The soft reverbed vocals and guitars of “29 Grados” (“29 Degrees”) are outstanding. Laura Torres‘ drums on “Despertar” (“Wake Up”) will certainly shake the cobwebs out of your head…but be warned that the synths and psychedelic guitar effects might lull you back into dream land. “El Tiempo Ha Pasado” (“Time Has Passed”) has lovely vocal harmonies from Oihana and bassist Leire Melenas and beautiful church organ-like sounds from Maria.

“Los Anemales” (“The Animals”) brings in krautrock elements and shows how well the Melenas can pull off mantra-like beats and bass (Leire’s groove on it is slick.) and mix them with psych-rock riffs. “3 Segundos” (“3 Seconds”) is one of the best rockers on the record. Leire locks down the track with her heavy bass tone and Laura drives it like she’s racing through the Pyrenees. Meanwhile, Maria’s keyboards and Oihana’s guitar chase after you like wailing police cars.

“Ciencia Ficción” (“Science Fiction”) does this cool switch about halfway through it from krautrock riffing to Lindsey Buckingham-like guitar work. “En Madrid” (“In Madrid”) has this lush feel to it that reminds me of Dum Dum Girls tracks. “Ya No Es Verano” (“It’s Not Summer Anymore”) will go on your “End of Summer” playlist from now on, because it has a brightness to it but the vocals have you pining for the start of summer now that you were just in the groove of having fun in the sun.

The album ends with the Velvet Underground-inspired “Vals” (“Waltz”), a great way to send us off with almost a caress and hopeful dreams.

It’s a beautiful record that feels otherworldly at times. We’re all living in strange days. This album will help with that if you need it.

Keep your mind open.

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pôt-pot release a “Sextape” from their upcoming debut album, “Warsaw 480km,” out September 19th.

oday Lisbon-based Irish quintet pôt-pot share a second look at their forthcoming debut album ‘Warsaw 480km’, set for release on September 19th via Felte.

The band infuse the propulsive grooves of krautrock with a phosphorescent psych-rock radiance, all underscored by harmonium drones, hypnotic vocal harmonies, and deep layers of rough-hewn texture.

Following first single “WRSW”, today they share a second glimpse at the record with an understated track about trust, entitled “Sextape“. The track highlights several of pôt-pot’s many strengths: melodious bass and laid-back drums create the framework for controlled feedback and honeyed vocals that are massive in their presence, yet still buoyant as a cloud above the steady pulse and swirls of vibrant, harmonic grace.

Commenting on the track, lead vocalist Mark Waldron-Hyden comments: “This song came from a spontaneous jam between all of us, not written by myself like the other tracks. Elaine named it half as a joke when we first saved the phone recording and despite efforts to rename, nothing else stuck.

What was lovely about this track was that the lads wrote their parts but gave me full control to orchestrate the song as I wished, and trusted me with the bits they wrote to make a full track, which really meant a lot to me. I guess the song title stayed as it’s essentially a song that came from an intimate trust between us, which lines up with what should be involved in making a sextape I suppose — intimate trust between parties that whatever each person brings to the scenario will be treated with respect, but that’s me taking a retrospective look on things.

The lyrics also stem from themes of trust between people — a quiet, unspoken understanding of each other’s idiosyncrasies “You don’t have to say what you are, I already know” repeated over and over.”

“Sextape” lyric video:https://youtu.be/-dmeCKTVjzc
‘Warsaw 480km’ album pre-save links:https://felte.lnk.to/pot-pot

Evolved primarily from demos by multi-instrumentalist and lead vocalist Mark Waldron-Hyden during a period of grief and personal upheaval, the album came to life through a series of live, full-band studio sessions that document an exceptional array of talents, unified in an embrace of raw catharsis with a sweetly sinister edge.

A defining element of ‘Warsaw 480km’ is its impressive range of influences and atmospheric topographies. As Waldron-Hyden describes, “I wrote the first batch of songs while not really living in one place, so I think they have a kind of transient feel to them – developing them with the band helped me process an era in which I was emotionally freewheeling, so they remind me equally of the beautiful experience we shared as a creative unit and the difficult times that inspired them.” Lead single, “WRSW”, exemplifies this complexity, as its rugged rhythmic backbone carries tremolo guitars, woozy harmonium, and a half-spoken, Lou Reed-indebted vocal line in which the verse and chorus beautifully blur together.

Above all, Warsaw 480km is an album that achieves its richness and aura from deliberate economy, as Waldron-Hyden explains, “Ollie [Oliver Smith] and Sara [Sara Leslie] are experts at getting the most out of one pedal, a shitty amp, and a guitar they borrowed, a result of innate talent and years of experience; they use some modulation for dronier passages, but it’s their playing styles and understanding of ‘the vibe’ that are the secret ingredients.” This kind of intuitive connection and collaboration is incredibly rare, and with these ten pieces, pôt-pot accomplish something truly rapturous as they alchemize deep pain into a luminous reverie.

pôt-pot are Elaine Malone (she/her), Sara Leslie (she/her), Mykle “Ollie” Oliver Smith (he/him), Joe Armitage (he/him) and Mark Waldron-Hyden (he/him).

Keep your mind open.

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[Thanks to Kate at Stereo Sanctity.]

Review: Acid Rooster – Hall of Mirrors

You might think Acid Rooster‘s Hall of Mirrors album was an EP by looking at the track listing, as it’s only four songs, but the shortest one is nearly six minutes in length.

Those four songs are are excellent cosmic rock tracks perfect for either tripping out inside the album’s namesake at your local county fair or surfing around the universe as a herald of Galactus. “Automat” (the five-minute-fifty-second song) has Joe Satriani-like riffs from Sebastian Väth and enough psychedelic synths from Maximilian Leicht to melt your mind and then reform it into something capable of clairvoyance. “Chandelier Arp” first sounds like the pulse and happy sighs of an android receiving a massage in zero gravity. Then, Steffen Schmidt comes in on drums and the android starts some form of astral projection or perhaps a digital upload to some giant connected mind. Leicht’s saxophone work on this put you in orbit about an emerging white sun.

“Confidence of Ignorance” brings in Middle Eastern desert rock flavor, which is fine by me. The sound takes on a heavier tone and reminds you of scantily clad, scimitar-wielding maidens emerging from the desert to either cut you down, cast spells on you, or both. “When Clouds Part” beautifully ends Side B with a gentle float back down to Earth, nicely landing us on a warm, green cliff overlooking the ocean.

Did I mention it’s an instrumental album? It’s a trip-tastic bit of space rock that you’ll want for times you need to float away for a bit.

Keep your mind open.

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Rewind Review: Vuelveteloca – Sonora (2017)

I discovered Vuelveteloca at the 2017 Levitation Music Festival where they played a great show at the now long-gone Barracuda club. I hadn’t heard them before then, but their Chilean version of metal, psych, krautrock, and stoner metal was something to behold. I snagged their Sonora album from their merch table…and it got lost in a stack of CDs in my office for years. It’s a shame I’m finally getting around to reviewing it eight years later, because it’s a slick record.

First, you should know that the band’s name translates as “Go crazy.” in English. That lets you know what you’re in for with this record. It’s a fitting name.

The album’s title translates as “Sonorous” – which implies something deep and powerful. Opening track, “La Niebla” (“The Fog”), stomps the gas pedal to the floor and charges through the titular weather with reckless abandon. The brief moment of coasting (around the 3:30 mark) lets you feel the wind on your face for a bit before the guitars from Marcos De Iruarrizaga and Tomás Olivos come back to melt it.

“Alta Montaña” (“High Mountain”) displays their love of stoner metal and cosmic rock, as Juan Gili hammers out mantra-like beats to induce rhythmic head-nodding. “Ataque Masivo” isn’t necessarily a tribute to the band “Massive Attack,” but I wouldn’t be surprised if Massive Attack were an influence on them. The track has krautrock leanings, but also synth touches that lean it a bit in Massive Attack’s direction.

The fuzz returns in full force on “Carnaval,” sending us on a trippy journey down streets full of masked people who might have dark intentions. “L.A.” slows things down into 1960s psych-rock. It’s a neat change in tone from the heavy stuff that’s come before it as the song builds in power and volume. “El Lado Frio” (“The Cold Side”) takes that power and volume and uses it to cause your brain to swirl in your skull.

“Tormento” (“Torment”) is a song you’ll want to blast while competing in a demolition derby. “Chepical” dives back into krautrock, but adds soaring cosmic rock guitars to the mix. Ending with the interestingly titled “Cientologia & Altiplano” (“Scientology & Plateau”), the album uses Jose Navarrete‘s bass grooves to maximum effect and creates a great jam track with limited vocals and maximum head-trip riffs.

It’s a wild record, and one I slept on for too long. Don’t do the same.

Keep your mind open.

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Review: Maquina – Prata

Hailing from Lisbon, Portugal, the trio of Maquina combine krautrock, electro, industrial, and shoegaze on their first full-length album, Prata. Trust me, it all works quite well.

Opener “Body Control” unleashes groovy fuzz bass to get your hips moving and then bonks you on the head with hard-edged synths, guitars, and howls. “Denial” has a spooky edge to it (and is a song about turmoil, after all), and there’s still time to put it on your Halloween playlist, so why not?

The beat and pulse of “Subversive” are infectious and will probably cause you to stomp the gas pedal if you listen to it while driving. “Kontakte” (“Contact”) has this weird, almost unsettling bounce to it that might be the throbbing of a UFO engine as it approaches you on a dark night…only to reveal a goth dance club inside it run by sexy aliens.

The opening bass of “Desterro” (“Exile”) brings to mind some of the same energy label mates A Place to Bury Strangers often unleash. Ending with “Concentrate,” Prata comes to a close with chugging drums and growling, simmering danger. It’s like a snake slithering across the room at you…and the snake is an android…and it’s programmed to lead you onto a monorail in the Lisbon of 2099.

There isn’t a bad track on this album, and it makes you want to catch them live. I’m sure it’s a wild experience…just like Prata.

Keep your mind open.

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[Thanks to Kate at Stereo Sanctity.]

Review: A Place to Bury Strangers – Synthesizer

Not to get all “Gen X is cool” on you, but do you remember when cereal boxes used to include phonograph records in or on the box? Seriously, this was a thing. You could get a flexi-disc record in a box of Count Chocula that featured cereal mascots at the disco or even score a Jackson 5 record from a box of Alpha-Bits.

I don’t know if Oliver Ackermann (vocals, guitar, synths), John Fedowitz (bass, vocals, synths), and Sandra Fedowitz (drums, vocals, synths) were listening to a flexi-disc copy of Bobby Sherman songs found in a box of Honey-Comb when they got the idea for their latest album, Synthesizer, but it reminded me of these flexi-discs because the packaging is a musical instrument.

Yes, you can buy a vinyl copy of the record with a cover that includes dials, wires, and other bits of gear that can be used (with soldering tools and other simple devices) to turn the album cover in to a synthesizer. No joke.

When I heard they’d done this, I first thought, “That is the coolest idea I’ve heard all year,” and then thought, “Yeah, this is perfect for them.”

It’s perfect because APTBS are always pushing the envelope and finding new ways to immerse you in sound. Beyond the wild feat of having an album cover that doubles as a musical instrument, Synthesizer is also a really good record that blasts you into an altered state.

Opening track “Disgust,” for example, blares at you right out of the gate, and Ackermann has said that it’s a half-joke “to turn people off from listening to the record.” Only the daring will venture on after the opening salvo. Only the daring will be rewarded with this track about the pleasure and pitfalls of lust, let alone the rest of the album. The guitars on “Don’t Be Sorry” are like stabs in a giallo film.

The synth bass of “Fear of Transformation” will get the industrial fans to pay attention as Ackermann sings about overcoming fear as it sometimes overwhelms us through the simplest things. Mrs. Fedowitz’s live drums mix well with electronic thumps, creating a near-panic – which is what the trio wanted us to feel all along. The haunting “Join the Crowd” is like a slow slide into a shadowy world that always seems to be on the edge of your vision as Ackermann wonders when people stopped caring about each other (“And is it me? Am I the only one here who even cares? Now I know why. You never had a choice or care.”).

“Bad Idea” has Mr. Fedowitz (whose “bad idea” for something to work on that day in the studio became the sone) considering a reconnection, even though it might cause him to end up flat on his face in the street. Ackermann’s guitar sounds like an angry beetle skittering around in a tin can at one point and like a miter saw in others, while Mr. Fedowitz’s bass line grumbles like a paranoid android.

Romance is a not-so-hidden theme on Synthesizer, and it’s great to hear Ackermann and the Fedowitzs embracing it. “You Got Me” is upbeat and reminds me of some early Cure tracks in that it mixes gothic tones so well with lyrics like “In a world where the universe is crashing down and there’s no hope, I feel ok. You question life, but there’s one thing you’ll never have to ask me. You got me.”

“It’s Too Much” is a fascinating mixed of warped sounds and more lyrics about being overcome with good emotions you haven’t felt in a long while (“I go out, but didn’t know you’d be there, and all this time I thought I was fine, but now I’m high.”). Mr. Fedowitz gives Peter Hook a run for his money on “Plastic Furniture.” I mean, come on, his bass riff on this is insane.

“Have You Ever Been in Love?” is a wild one, with Mrs. Fedowitz crushing her drum kit and adding spooky yet lovely backing vocals and cries throughout it – helping Ackermann express his anguish over a breakup (“Knife in heart. I want to die, seeing you pass me by.”). The closing track, “Comfort Never Comes,” might end up being a new synth-psych classic as it builds with gorgeous notes, Wall of Voodoo-like guitar chords, A Flock of Seagulls-like synth flourishes, and hypnotic rhythms. Ackermann acknowledges his faults in a relationship that’s beyond repair and that he wishes he could amend things (“You and I are in pieces. You could lift me like a stone…You and I are in pieces. I could lift you like a rose.”).

I can’t recommend this album enough to you. I’m sure it’s an absolute sonic wall coming at you on vinyl, but I encourage you to give it a deep headphone / earbud listen. Like any synthesizer played well, it changes the feel of everything around you and within you.

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]