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Mixtape: Fractured Air – June 2019

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This month’s mixtape opens with the peerless, beloved Austin-based songwriter Bill Callahan and his hugely anticipated “Shepherd in a Sheepskin Vest” (Drag City), the breathtaking twenty-song opus and follow-up to 2013’s “Dream River”. June’s mix also features: the wonderful Nashville-based composer Eve Maret with her scintillating “No More Running” full length; more beautiful bittersweet folk pop creations from Welsh songwriter and musician Cate Le Bon (from her Mexican Summer-debut ‘Reward’). Other essential 2019 releases include the peerless Irish songwriter Maria Somerville (‘All My People’ remains our favourite of the year); Cork-born and Berlin-based producer ELLLL’s latest ‘Glisten’ EP (released via the Barcelona imprint Paralaxe Editions) and Earthen Sea’s sophomore full-length for the ever-dependable Kranky label.

Dazzling re-issues from Liquid Liquid’s Dennis Young (via Scottish imprint Athens Of The North); Julie Coker’s musical career retrospective showcasing the Nigerian queen of television’s formidable songbook; and Portland, Oregon’s Little Axe compilation of Andean party music from the central sierra of Peru.




Fractured Air – June 2019

01. Bill Callahan‘Shepherd’s Welcome’ (Drag City)
02. Ditto‘Pop’ (Ditto Records)
03. Cate Le Bon‘Here It Comes Again’ (Mexican Summer)
04. G.S. Schray‘District Lizards’ (Last Resort)
05. S. Maharba‘For Someone’ (Cleaning Tapes)
06. Felicia Atkinson‘Shirley to Shirley’ (Sheltered Press)
07. Earthen Sea‘A blank slate’ (Kranky)
08. Nina Simone‘Tomorrow (We Will Meet Once More)’ (Colpix Records)
09. Aldous Harding‘Treasure’ (4AD)
10. Los Solitarios Del Ande‘Mi Pachito A Muerto’ (Little Axe Records)
11. Hailu Mergia & Dahlak Band‘Sintayehu’ (Awesome Tapes From Africa)
12. Julie Coker ‘Ere Yon’ (Kalita Records)
13. White Fence – ‘Fog City’ (Drag City)
14. Dennis Young‘Berlin’ (Athens Of The North)
15. Dylan Moon ‘Song For Jerry’ (RVNG Intl)
16. Eve Maret‘Pink Ray’ (Banana Tapes)
17. ELLLL‘Ride’ (Paralaxe Editions)
18. Fly Pan Am ‘Distance Dealer’ (Constellation)
19. Stereolab‘Diagonals’ (Duophonic Ultra High Frequency Disks)
20. Sons Of Kemet‘My Queen Is Anna Julia Cooper’ (Impulse!)
21. Maria Somerville‘Brighter Days’ (Self-released)
22. Giuliano Sorgini ‘Notte Nella Savana’ (Four Flies Records)
23. The Langley Schools Music Project ‘In My Room’ (Bar/None Records)

Mixtape: Fractured Air – March 2019

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This month’s mix features new music from the magnificent Berlin-based, Cork-raised producer ELLLL with the arrival of her essential “Febreeze” 12” last month, carving out multi-layered, seductive techno cuts. Irish songwriter Maria Somerville’s exceptional debut full length “All My People” we continue to fall for, with the record’s divine song cycles rooted in beautiful 50’s/60’s pop songs that are encapsulated in wondrous post punk/indie spheres of today. A wholly unique labyrinth of astral song cycles.

New music also from the imitable London-based, Australian songwriter and producer Carla dal Forno (and excitingly the first release for her newly established label, Kallista Records); Immix Ensemble’s Daniel Thorne’s magnificent debut solo album on Erased Tapes; Norwegian duo Deaf Center’s highly anticipated return on Sonic Pieces; Forma’s John Also Bennett’s wondrous solo LP (under the JAB psuedonym) on Shelter Press and two formidable new releases on the ever dependable North American label Constellation. Grouper’s sublime new project Nivhek (self-released), Italian composer Caterina Barbieri’s forthcoming Editions Mego-debut and Craig Leon’s forthcoming release on Brooklyn institution RVNG Intl are other highlights.

Fractured Air – March 2019

01. William Basinski – “On Time Out Of Time 1.1” (Temporary Residence)
02. Nivhek“Cloudmouth” (Self-released)
03. ELLLL“Sunrise edit” (First Second Label)
04. Patricia“No One Needs Nothing” (Opal Tapes)
05. JAB“Jacob’s House” (Shelter Press)
06. Maria Somerville“This Way” (Self-released)
07. Houston & Dorsey“Ebb Tide” (Numero Group)
08. The Cryin’ Shames“Please Stay” (Decca)
09. Rupie Edwards“Buckshot Dub” (Spectrum Music)
10. Vivien Goldman“Launderette” (Window)
11. Carla dal Forno“So Much Better” (Kallista Records)
12. Oqbqbo “All This Waiting” (Posh Isolation)
13. Antena“Camino Del Sol” (Les Disques Du Crepuscule / Numero Group)
14. Khotin“Water Soaked In Forever” (Ghostly)
15. Daniel Thorne“From the Other Side of the World” (Erased Tapes)
16. June11“White Bird” (Stroom)
17. Craig Leon“Standing Crosswise In The Square” (RVNG Intl)
18. Don Cherry“Utopia and Visions” (Caprice Records)
19. Talk Talk“New Grass” (Verve Records)
20. Deaf Center“Far Between” (Sonic Pieces)
21. Poppy Ackroyd“The Dream” (Penelope Trappes Remix) (One Little Indian)
22. Efrim Manuel Menuck & Kevin Doria“We Will” (Constellation)
23. Light Conductor“Chapel Of The Snows” (excerpt) (Constellation)
24. Carola Baer“Golden Boy” (Concentric Circles)
25. Aponogeton“Prologue” (Stroom)
26. Caterina Barbieri“Fantas” (excerpt) (Editions Mego)
27. Laraaji“I Can Only Bliss Out (F’Days)” (Numero Group)

Announcement: Benoît Pioulard (Kranky) + Wry Myrrh @ Gupld, Triskel Arts Centre, Cork SAT 4th March 2017

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We are very pleased to announce the following concert:

Fractured Air & Plugd Records present:

Benoît Pioulard (Kranky) + Wry Myrrh @ Gupld, Triskel Arts Centre, Cork SAT 4th March 2017

Tickets: €12.50 (excluding booking fee)

Purchase tickets HERE



Benoît Pioulard (USA/Kranky)

Listening Matter’ is the sixth Kranky album by Thomas Meluch under his musical alias Benoît Pioulard, following the 2006 debut full-length ‘Précis’, ‘Temper’ (2008), ‘Lasted’ (2010), 2013’s ‘Hymnal’ and ‘Sonnet’ (2015). The American sound sculptor – in a similar fashion to his label-mates Loscil, Grouper and Pan American – has amassed a rich body of empowering work, seamlessly creating some of the most affecting and captivating ambient-based compositions of the past decade.

In addition to Meluch’s universally praised solo work, collaborative projects include Perils-duo with Kyle Bobby Dunn (whose debut LP was issued by Desire Path Recordings) and Orcas- alongside The Sight Below’s Rafael Anton Irisarri released on Morr Music.

The Seattle-based composer and songwriter has continually forged utterly captivating folk-infused-ambient song cycles that are rooted in the examination of the self, of questioning of the universe and reconciling the two.

Praise for ‘The Benoit Pioulard Listening Matter’:

“Utterly perfect warmhearted lo-fi pop.”

Norman Records

“8/10 — A baker’s dozen of future-past pop songs etched onto water-warped tape… Euphoric.”

“Imbued with a sense of how fleeting life can be… Meluch’s words are sharp as ever,
evoking worlds of meaning in quick turns of phrase.”

Benoit Pioulard ‘Layette’:



Benoit Pioulard ‘The Sun Is Going To Explode But Whatever It’s Ok’:





WRY MYRRH is a recently formed duo comprising composer/GASH Collective organiser Ellen King [ELLLL], and composer/ Crevice member Irene Buckley, WRY MYRRH offers a sparse take on improv electronics, with sinister, brooding drone and noise inflections. As exploratory as it is unsettling, WRY MYRRH’s minimalist improv proves a wholly unique listening experience, heightened to wondrous effect when immersed in a live situation.

Fractured Air & Plugd Records present:

Benoît Pioulard (Kranky) + Wry Myrrh @ Gupld, Triskel Arts Centre, Cork SAT 4th March 2017

Tickets: €12.50 (excluding booking fee)

Purchase tickets HERE



Written by admin

February 7, 2017 at 4:54 pm

Central And Remote: ELLLL

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Interview with Ellen King (ELLLL).

You have these moments where you lose yourself completely in what you’re playing.”

—Ellen King

Words: Mark Carry


ELLLL is the pseudonym of Ellen King, a producer based in Cork City. Her music utilises heavily manipulated samples, resonant beats and dark textures, whilst also drawing influence from drone and noise crossed with vigorous techno leanings. The highly anticipated debut ‘Romance’ EP comes out soon via Sligo-based Art For Blind Records (pre-order here) and is available to download now.

The title-track – and glorious opener – contains a myriad of utterly transcendent moments distilled into one gorgeous cohesive whole. An array of luminescent beats serves the vital pulse as LA-based producer Laurel Halo; early sample-based works of French artist Colleen and the Modern Love roster all flicker into full-focus. ‘Romance’ forges a deeply immersive experience. The following cut ‘Pegasus’ is built upon many warped sounds that are masterfully assembled into a lo-fi techno-fused sound collage. The repetition and returning melodic motifs creates un utterly timeless feel, which continually evolve, looping forever into some blissed-out utopia.

Part B of ‘Romance’ changes and mutates once more, displaying the gifted talents of this Cork producer. Acid house beats and hypnotic vocal-based samples continually weave in and out of focus, creating a dense sound-world of melodic patterns and radiant textures which bring to mind the seminal works of Aphex Twin and the Warp & Kompakt label’s output. Closing cut ‘Tease’ blends vigorous techno, noise and drone soundscapes to tremendous effect. The near-tribal, pop-oriented vocal sample serves the track’s compelling main theme, which becomes mashed and transformed across a multitude of manipulations and treatments. Endless moments of complete transcendence are effortlessly embedded within these spliced treatments. ‘Romance’ represents the glittering first chapter in ELLLL’s music path.

‘Romance’ is available to download HERE. Vinyl pre-order HERE, which will be released on Art For Blind Records.


Interview with Ellen King (ELLLL).

Congratulations on the sublime ‘Romance’ EP. Please discuss the space in time in which these formidable tracks were constructed and recorded? The many intricate layers inherent across these four tracks is a joy to savour and feels as if these loops could go on forever. I would love to gain an insight into the library of sounds you have collected – and the sources perhaps – and indeed the process of collecting these fragments and splicing the tracks together?

Ellen King: Most of the tracks were recorded between Dec 15 – March ’16. I’m a total hoarder when it comes to sampling. Pretty much anything goes. Old B movies, foreign films, field recordings, a lot of pop music from the 50’s/60’s. I’m a sucker for anything with the Phil Spector – Wall of Sound production.

In terms of splicing tracks together, I’m a big advocate of sound collage. Layering sounds, even things you think could never possibly work, tweaking and manipulating them in subtle ways. That being said, trial and error can be a big part of composing too.

Sometimes I’ll have audio that I’m desperate to use but it just never quite ‘fits’. I could be editing something for weeks. It’s tedious. Eventually, you just have to let it go.

Other times I come across a sound that feels so magnetic the piece seems to come together almost instantaneously. You have that light bulb moment where you just have to keep the momentum going and bang it out.

Most of my time is spent on chopping up samples and manipulating them. Generally, they’re very tiny fragments. I’m constantly trying to get the most out of the least amount of material. Imposing this limitation is important to my workflow; otherwise it becomes overwhelming. I’m constantly trying to scale things back.

I can imagine your live shows and testing material in the live context must have played a big part in the final versions and entities of these new tracks, Ellen. Furthermore, your live show has developed and evolved greatly over the last couple of years, which is reflected in the ‘Romance’ EP. One of the great hallmarks of the EP is the translation of your live shows – and particularly, the energy and transcendent nature – into the studio versions. Can you talk me through the equipment and tools at your disposal and how you feel you have developed as a producer (which is so clearly shown on ‘Romance’)?

EK: In terms of tools at my disposal, I don’t own a lot of gear. I’ve used a lot of different software over the years but these days I feel most comfortable using my laptop, Ableton live, a APC MK2 and decent studio monitors. Portability is for sure a concern too.

With regard to playing live, it has certainly been an integral part of the way I write music. When I started making electronic music most of my friends were in bands, none of them were DJ’s or producers; playing live was just a given.

At the time, I was doing bits and pieces of improvisation with friends, some noise and drone type gigs too. So, when I started playing live sets as ELLLL, they were fully improvised and meandering. A lot of the tracks I recorded were just that; recorded and unedited.

You mention the word transcendent, and without sounding cheesy or clichéd, it’s such a big part of making music. You have these moments where you lose yourself completely in what you’re playing. This can be on stage or in the studio. In the case of the latter I try and record everything I do, oftentimes these recordings serve as the basis for tracks (although, granted; there’s a lot of files that get scrapped too).

This approach has developed quite a bit, you get older, learn more skills, figure out what works and doesn’t. I’m constantly trying to improve as a producer. By large most of my tracks are still composed around improvisations, but now I’m much more critical about what remains in the final edit. A 30-min improvisation could end up being refined to a 6-minute track.

Now, in a live context, I have tracks to play, edits to consider, all these elements in post-production that I never had before. If I tried to stick to all that live I’d go insane; it would be so rigid and stressful. Instead, I’ve got integral components that I try and use in an improvised way. I’ve got a pool of effects I like to use and some Max for Live instruments too. Overall this makes playing live very malleable and fun.

The whole set is much more loose as a result and gives me more freedom. You’re never going to hear a track exactly as it was recorded, but honestly, who wants that anyway?!

There is a wide range of sounds and flourishes etched all over the recordings, calling to mind the vintage Warp output, pioneering producers, minimalist techno and imprints such as Modern Love, Kompakt et al. What do you feel are the sum of the inspirations and influences that have found their way on this particular musical chapter, Ellen? Did you have a specific set of aims or objectives for what sound worlds to channel into this batch of songs?

EK: I didn’t have any specific aims or objectives at the time of writing the EP, I wanted it to accurately represent my interests and skill set as a producer at that time. I didn’t set out thinking ‘I want it to sound like X’. I wrote some tracks, picked the ones I thought complimented each-other and went from there.

That being said, there’s an undenying influence of imprints like those mentioned that rooted themselves in my composition early on. Modern Love in particular; a lot of its output was a big catalyst for me to write more beat driven material, the style of production and the atmosphere resonated with me.

A minimal approach to writing electronic music has always appealed to me and is still something I gravitate towards. I like the challenge of trying to push the boundaries of a 4/4 groove in a creative way. Labels like Faitiche and Scape~ also had a huge impact on me, especially when I began writing electronic music. The juxtaposition of these with more experimental and noisy output from labels like Subtext, Prologue, Pan… then artists like Black Dice, Terrestrial Tones, Teengirl Fantasy. The list goes on and on. It’s a pretty mixed bag.

The title-track serves the perfect opener. The ambient loop and luminescent beats form this stunningly beautiful cohesive whole. Can you talk me through the construction of the layers of ‘Romance’? Again, just like the other tracks here, an infinite array of breath-taking moments come to the fore as the track grows, mutates and evolves.

EK: Romance was one of those rare moments where the whole track came together quite quickly. I think in a day or two. It’s mostly stretching and inverting the same idea and actually has quite few new elements bar the percussion. Most of the sounds are taken from the same source but are heavily manipulated and inverted to create something new each time.

As I started compiling samples for Romance, it began to come together as a vivid narrative in my head that I wanted to translate into a cohesive piece of music, almost like a piece of program music.

This sounds a bit intense and OTT for writing what essentially ended up being a 5-minute techno tune, but it’s what was going on in my mind at the time.

‘Bear’ contains such a monster groove and compelling techno soundscapes unfold throughout. I get an impression that the transitions within the songs are quite integral to the overall composition? For instance, I love how there is distinct phases or patterns embedded within a track, and where certain moments or motifs return at various points. I would love for you to shed some light onto your compositional approach and how you visualize music?

EK: ‘Bear’ features a lot of material that I had been playing for a while in various reincarnations live, so, when I was writing it I knew the sounds inside out. I wrote it at a point that I had finished a few live shows and was just really excited about writing music.

I had the luxury of playing much of the track through on some nice sound systems and wanted to make it come to life; give it some form and shape. It’s a lot of interweaving repetitions, ducking in and out, with these acidic bloops, chugging throughout, keeping a sense of movement and motion going.

Some pieces are incredibly visual for me and these narratives unfold, as I mentioned with ‘Romance’, ‘Bear’ was much the same. Everything about it reminded me of Baloo the bear from the Jungle Book. Not the story line. Just the Bear (ha!) I’ve no idea why. None of the sounds are even remotely related to the Jungle Book, I haven’t read or watched it in years, but once I had the idea in my head, that was it. This lucid bear sauntering through a lush green jungle.

Some of the music I write goes that direction, storytelling in some warped sort of way. On the other hand, it can be solely focused on one specific sound that I’m completely fixated on for a time, and I try to challenge myself to use it in as many creative ways as I can. A feeling, or a mood. Sometimes you just want to make something bangin’, obnoxious and unapologetic. I’m all for that too. I love that.


What records, producers, artists have you been enjoying lately?

EK: A lot of the music coming out on Don’t Be Afraid; Karen Gwyer and Herva in particular. Also output from BANK records, Enrique (Miguel Alvariño) and Via App especially.

I’ve been revisiting Murlo’s Odysessy from last year and that still gets me excited, it’s just such a good time. The new Pangea is really fun too.

Also, looking forward to get my hands on the new Andrew Pekler record, which I’ve only heard snippets, but sounds great.

It’s always striking chatting with you about music: you have a  wide-ranging taste and love and appreciation for a wide range of genres and styles/periods of music – Delia Derbyshire & BBC Radiophonic; Colleen; Powell; The Soft Moon; Laurie Spiegel, Linda Perhacs etc. – it’s obvious from listening to your music that your collection does not only cater for techno/electronic sounds. Could you pinpoint key albums that influenced you as a composer and made an impact on you growing up? In terms of influences who would you most admire?

EK: Growing up I didn’t listen to much electronic music at all, not intentionally, it just wasn’t an area I was all that aware of.  The major exception here would be Aphex Twin, both volumes of Selected Ambient works and also the Druqks record.

As a teenager, I was mostly preoccupied with metal and offshoots of that; alongside with psychedelic pop of the late 60’s and 70’s. The Mama’s and the Papa’s self-titled record definitely brushed off on me, I go back to it time and time again, catchy yet sometimes melancholic pop songs with a nostalgic feel. I love the story that they tell, the overall narrative. My mother was also very partial to throwing their best of on in the car as a kid, so even going further back, I’ve some nice memories attached to their sound.

In a big contrast, Ulver’s ‘Blood Inside” also had an impact on me, but in a completely different way. It was a drastic break away from their previous sound, which was a lot more black metal. The record is still really dark and moody, but has some many different elements to it regarding electronics, instrumentation and texture. It’s really interesting to listen to, their use of sampling especially got to me.

Fantoms ‘Suspended Animation’ is another one i’d include in this too, it shook me up. The juxtaposition of so many different elements, sometimes sounding quite frantic sometimes really beautiful.

I can’t really mention sampling without Musique Concrète and the music from RTF and Radiophonic Workshop. The composers involved have not only being very influential compositionally, but I’ve a strong admiration for them, women like Eliane Radigue, Daphne Oram and Delia Derbyshire in particular.

Likewise, I’m very fond of the Scape~ recordings label and the producers involved. It’s all very considered and beautiful production with some really precise components that seem to be a mixture of found and man-made sounds, yet still not withholding to any particular genre. Jan Jelinek – Loop Finding Jazz Records is a favourite of mine.

I also have to include Emptyset and their record Demiurge. The physicality of their sound is something I really appreciate; I find their music very compelling.


‘Romance’ is available to download HERE. Vinyl pre-order HERE, which will be released on Art For Blind Records.


Written by admin

December 9, 2016 at 12:42 pm

Fractured Air x Blogothèque – S01E10 | October mix

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October’s mixtape contains an exclusive unreleased track by the world-renowned electronic composer Loscil (Canada/Kranky) ahead of the release of his forthcoming album “Monument Builders”, due for release on November 11th via Kranky.

For over nearly two decades Loscil (Vancouver-born Scott Morgan) has been amassing a constantly evolving, soul-stirring body of work. Beginning with his 2001 debut “Triple Point”, Loscil has developed his own unique style of textural rhythms that ceaselessly blur the lines of ambient, techno, drone and modern-classical. Next month sees the hugely anticipated release of Loscil’s “Monument Builders” (his eighth release for the Chicago-based independent Kranky) and follow-up to 2014’s magnificent “Sea Island” full length.

Also included in October’s mix are two selections from the latest masterful guest mix by Late Night Tales – this time with Belfast-born producer extraordinaire David Holmes at the helm – which ranks amongst the most irresistible contributions in the vast Late Night Tales archive to date. Featured here is the heart-stopping tribute to the late Henry McCullough, the Northern Irish guitarist who was a member of Spooky Tooth, Paul McCartney’s Wings, Sweeney’s Men and also performed with Joe Cocker. Holmes collaborates with the Irish DJ, musician and author BP Fallon for the gorgeous “Henry McCullough”, a most loving and poignant tribute to his memory.

October’s mix also features new releases by the Irish-based electronic producer Ellll (pseudonym for Cork-based artist Ellen King) who releases her sublime debut EP “Romance” next month; Katie Gately’s stunning debut album “Color” on the Tri Angle label; the impeccable “Stranger Things” soundtrack composed by Kyle Dixon & Michael Stein from the Austin-based band S U R V I V E and the second album by Xylouris White (legendary Cretan-lute player George Xylouris and Dirty Three’s Jim White) entitled “Black Peak”, out now on Bella Union.

Fractured Air x Blogothèque – S01E10 | October mix

To Read/listen on La Blogothèque:



01. John Carpenter“Hofner Dawn” (Sacred Bones)
02. Colleen“Your Heart On Your Sleeve” (The Leaf Label)
03. Ellll“Romance” (Art For Blind)
04. Katie Gately“Lift” (Tri Angle)
05. Jessy Lanza“Could Be U” (Hyperdub)
06. Kyle Dixon & Michael Stein“This Isn’t You” (Stranger Things OST, Lakeshore)
07. Black Marble “It’s Conditional” (Ghostly International)
08. Madvillain“The Illest Villains” (Stones Throw, PIAS)
09. Betty Harris“There’s a Break in the Road” (Soul Jazz)
10. J Dilla & MF Doom“Sniper Elite” (Gold Dust Media)
11. Virginia Wing“Daughter of the Mind” (Fire)
12. Marissa Nadler“High on the Road” (Bandcamp)
13. Nick Cave & Warren Ellis“Texas Midlands” (Hell or High Water OST, Milan)
14. Stars Of The Lid“Tippy’s Demise” (Kranky)
15. Low “Untitled 1” (Bandcamp)
16. Bob Dylan“Song To Woody” (Columbia)
17. Xylouris White“The Feast” (Bella Union)
18. the Marquis de Tren and Bonny Billy (with Angel Olsen)“Solemn 28” (Drag City, Domino)
19. The Children Of Sunshine“It’s A Long Way To Heaven” (LateNightTales)
20. Townes Van Zandt“Waitin’ Around To Die” (Charly, Poppy)
21. Ennio Morricone“The Ecstasy Of Gold” (The Good, The Bad and The Ugly OST, United Artists)
22. The Avalanches“The Wozard Of Iz” (XL)
23. BP Fallon & David Holmes“Henry McCullough” (LateNightTales)
24. Primal Scream“Inner Flight” (Creation)
25. Katie Kim“Ghosts” (Art For Blind)
26. Boom Bip“I See Me” (Sun Choke OST, Lex)
27. Loscil“Varia” (Unreleased)
28. Jóhann Jóhannsson“A Song for Europa” (Deutsche Grammophon)
29. Claire M Singer“Wrangham” (Touch)
30. Gavin Bryars (with Tom Waits)“Jesus’ Blood Never Failed Me Yet” (Obscure, Island)

Compiled by Fractured Air, October 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.