50th Anniversary edition on "Esperanto Green" colored vinyl; #'d edition of 1000 copies. Volume two of Sun Ra's classic Heliocentric recordings from the 1960s. The astonishing sessions that went light years beyond "free jazz" improvisation to create a music of deeply-felt, explosive and gentle gesture made from sound itself without reference to previous notions of melody or harmony are now reissued on 180 gram vinyl with Sun Ra's original, self-created cover art. Recorded by Richard Alderson on April 20, 1965, this set of tunes finds Sun Ra breaking ground by using synthesizers and having the Arkestra musicians double on percussion. More explorations of outer space by the spokesman for the space age. Manufactured in the U.S. by the original label. Digitally re-mastered.
50th Anniversary edition on "Esperanto Green" colored vinyl; #'d edition of 1000 copies. The astonishing sessions that went light years beyond "free jazz" improvisation to create a music of deeply-felt, explosive and gentle gesture made from sound itself without reference to previous notions of melody or harmony are now issued in a special 50th Anniversary 1000-copy limited edition on Esperanto-green 180-gram vinyl with Sun Ra’s original, self-created cover art. Recorded by Richard Alderson on April 20, 1965, this set of tunes finds Sun Ra breaking ground by using synthesizers and having the Arkestra musicians double on percussion.
Michael is the debut full-length from Les Sins, the dance project of Toro Y Moi’s Chaz Bundick. Inspired by cartoon and movie soundtracks, the largely instrumental album explores classic dance and pop music traditions. Catchy, repetitive vocal hooks gel with beats and synth work influenced by house, techno, French electronic, and ’90s hip-hop production. Bundick made the album over two years and recorded everything in his home studio. The funky "Why" features vocals from Berkeley, Calif. singer-songwriter Nate Salman asking “Why you wanna go and do that?” “Bother” holds down a head-bobbing, body-moving groove until a stunning hallelujah moment straight out of a sci-fi version of Kanye West’s My Beautiful Dark Twisted Fantasy. While there are no concrete themes associated with the album, Chaz says he can imagine all of these songs playing in the middle of the brilliantly lighted and busy Ginza district in Tokyo. Touchstones like Timbaland, Mr. Oizo, and Daft Punk, and contemporaries such as Motor City Drum Ensemble offered inspiration, but most influential on the making of the album was the sage advice of a design icon. “My favorite graphic designer, P. Rand always said, 'Don't try to be original, just try to be good,'” Bundick says. “When making this record that was/is my mantra—it was just constantly looping in my mind. I believe 'good' is timeless and once you can recognize that you'll see the world in its fullest." Michael follows a 12” on Carpark Records and two singles for Jiaolong. The LP is the first release on Company Records, a new label partnership between Chaz and Carpark.
Saaab Stories is the second extended play by American rapper Action Bronson. The EP was released on June 11, 2013 and is entirely produced by American record producer Harry Fraud. The EP, which was released by Vice and Atlantic Records, serves as Bronson's major label debut project. It features guest appearances from fellow American rappers Wiz Khalifa, Prodigy and Raekwon.
With this release, Comb & Razor Sound launches its exploration of the colorful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s. The years between 1979 and 1983 were Nigeria's Second Republic, when democracy finally returned after twenty-three years of uninterrupted military dictatorship. They were also the crest of Nigeria's oil boom, when surging oil prices made the petroleum-producing country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry and the music industry in particular. Record companies upgraded their technology and cranked out a staggering volume of output to an audience hungry for music to celebrate the country's prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afrobeat, slickly modern dance groove that retrofitted the relentless four-on-thefloor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as "disco," but has since been recognized as its own unique genre retrospectively dubbed "Nigerian boogie." A Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness collects 15 pulsing Nigerian boogie tracks in a lovingly compiled package chronicling one of the most progressive and creative eras in the history of African popular music.
Limited to 500 copies. Short Stories defies traditional notions of what it is to create 'electronic music' traveling through uptempo house, heavy bass, UK-garage, hip hop and soulful vibes - in 5 succinct stories. Sam Gellaitry is the 18 year old from Stirling, [central] Scotland - where the "culture" part of the wiki section reads one line. Culture in the form of music however, is plentiful and diverse in Sam's case – drawing on influences from Madlib and Jamiroquai to Flying Lotus, Röyksopp, Hudson Mohawke, Mr. Carmack and Outkast. By the time Sam was 16, he'd learned to engineer and master audio which might shed some light on his unique song structure and diverse journey through many genres apparent in the course of one single track. Sam marries his love and knowledge of bass guitar, synthesizer and piano with honed production skills to create seamless heavy hitting electronic music that retains raw instrumental elements and evokes a certain happiness and soulful connectedness. With a father who has a background in making bagpipes amongst other talents and Mum - a former band member playing guitar and singing, it's really no surprise that Sam's magical ears give him the ability to translate 5+ genres seamlessly into one beautiful song or 'Short Story'.
Young Turks is excited to announce the release of the self-titled full-length debut by SBTRKT, a South London based producer. SBTRKT (pronounced “subtract”) has recently left his imprint on U.K. music by seamlessly fusing Detroit Techno, Berlin Electro and classic 2-Step into the thriving London Dubstep scene, although this masked man fits comfortably in any category he wishes to occupy. While massively prolific, a minimalist ethos runs through the work and style of SBTRKT, not just in the name but in the precision of the sonics and arrangements. He has done remixes for M.I.A., Modeselektor & Basement Jaxx, and has previously released 2 EPs via Young Turks (Soundboy Shift and Step In Shadows). While he has had multiple releases in single and EP forms, this is SBTRKT’s first full-length, and about that he says “This release is the culmination of a longer period of constant writing and collaboration, tracks on previous EPs were written as singular pieces. This record is much more of a whole project, more representative of my thoughts and ideas as an artist and each track was completed with the aim to be coherent together.”
Mysterious Phonk is the debut commercial release from South Florida producer and MC, SpaceGhostPurrp., compiling both new and old material, tracking the early years of this intoxicating prodigal talent.Hailing from Miami, FL, SpaceGhostPurrp, who spearheads the Raider Klan Mafia, was born on April 1st, 1991; a date that has subsequently become known to him and his followers as 'Purrp Day'. Cast in the classic mould of producer/MC, his musical influences read like a checklist of hip-hop touchstones - Three 6 Mafia, UGK, DJ Paul, Eazy E, Tupac and DJ Screw - revealing him as a true connoisseur of the gloriously weird and wonderful. Given his age, the reference to such rich heritage shows Purrp as a child of the digital era; his rhymes veering between the hallucinogenic, somnambulant and visceral, his productions syrup-thick, schizophrenic and refreshingly off-kilter. Hard to pin down, his choice of language is an intriguing invite into his murky world, with the track titles alone a playful assault on audience expectations.
The xx exist in a time and space of their own making. In 2009 the south London trio's debut album, xx, quietly made at night over the course of two years, bled steadily into the public consciousness to become shorthand for newly refined ideas of teenage desire and anxiety. Articulated with a maturity beyond their years, its hallmarks were restraint and ambiguity. In the age of the over-share, xx was pop with its privacy settings on max. Three years later, Romy Madley Croft, Oliver Sim and Jamie Smith release Coexist, and a new perspective. Where xx lent in close to whisper in your ear, Coexist gazes warmly in your eyes. Much has happened to lead to this point: most pertinently, they've grown up. Previously cast as the quietest of the three, Jamie became the public face of the xx in 2011. In-between DJ gigs, he focused on growing his production skills, developing a distinct sound and presence. His remix of Adele's "Rolling In The Deep," re-imagining of Gil Scott-Heron's final album on We're New Here with its defining single "I'll Take Care Of U," and his debut solo single "Far Nearer" set him apart as a highly regarded producer in his own right. That position was cemented when Drake asked Jamie to produce the title track of his album Take Care, inspired by "I'll Take Care Of U." Above all, though, Coexist is an album of confident adult reflection. "Angels," sung by Romy, is a perfectly distilled love song. Its counter is "Fiction" led by Oliver, a bittersweet ballad that s strength lies in naming its fear. What has changed for The xx? Nothing, and everything. Older and wiser, surer yet still so tender, Coexist finds itself on the other side of heartbreak, when the light returns.
The debut album from the xx, xx conveys the intimate, unembellished quality of the band's demos, featuring tracks rooted in beats made on Jamie Smith's laptop, later mixed in the studio with engineer Rodaidh McDonald. The result is melancholic and minimalist, with 11 tracks on vinyl that are built on basslines, sparse guitars and low-key vocal duets that explore themes of love, loss, intimacy and desire. 2009, Young Turks.
One of the ironies of the career of Chilean-born filmmaker Alejandro Jodorowsky is that while he is best known as a visual stylist, his most avid and loyal champions have often been musicians. When Jodorowsky arrived in New York from Mexico City in 1970 carrying a copy of the then-unreleased El Topo, it was the jazz producer Alan Douglas who bought the distribution rights to the film. When Jodorowsky and Douglas were looking for a venue in which to screen El Topo, it was John Lennon and Yoko Ono who asked for it to run at midnight following their short-film festival at New York's Elgin Cinema. After six months of sold-out midnight screenings at the Elgin, it was Lennon's manager, Allen Klein (ABKCO's founder), who bought the rights to El Topo and agreed to produce its follow-up, The Holy Mountain. And when Jodorowsky wanted, in his words, 'another kind of music -- something that wasn't entertainment, something that wasn't a show, something that went to the soul, something profound,' for the soundtrack to The Holy Mountain, forward came jazz legend Don Cherry and crack studio musician (and one-time Archie) Ron Frangipane to share composing and (along with Jodorowsky) conducting duties. And, boy, did they deliver -- the score to The Holy Mountain is every bit as hallucinatory as the fantastic visual imagery in the film itself. The deep, primordial chants that begin the movie, 'Trance Mutation,' give way to an almost jaunty percussion-and-plucked-strings melody, 'Pissed and Passed Out.' On the next track, 'Violence of the Lambs,' a single flute is slowly joined by a set of mournful strings while, onscreen, Gestapo-like soldiers in gas masks parade with bloody lamb carcasses on sticks. 'Drink It,' an upbeat sitar folk melody, follows, briefly accompanying the main protagonist The Thief's ill-considered decision to guzzle tequila (or sleeping potion). Then there is 'Christs 4 Sale,' a blaring orchestral riff that sounds like it was ripped from a 1950's swords-and-sandals epic. The next track, 'Cast Out and Pissed,' begins with a beelike buzz, then is overwhelmed by a cacophony of drums, horns, and, finally, screaming. 'Eye of the Beholder' which follows, changes moods entirely once again -- a string section swells with overwrought romanticism. (Onscreen, a group of young prostitutes prays in a church. One of them later walks arm and arm with a chimpanzee.) And then there is 'Communion,' a brooding, trumpet-led number that would be at home on the noir-steeped Chinatown soundtrack. (As 'Communion' plays, the Thief is not driving through Los Angeles at night but eating the face off a statue of Christ.) This veritable cornucopia of musical styles would be more than enough to fill an entire movie. It would be more than enough to fill three movies. But in fact, the eight musical compositions described above play entirely in The Holy Mountain's first 24 minutes. Still ahead lie the hard rock of 'Psychedelic Weapons,' the pomp and circumstance of the waltz 'Miniature Plastic Bomb Shop,' the gospel-inflected sax of 'Isla (The Sapphic Sleep),' and so on. Every one of the 24 tracks on the film's soundtrack presents another vertiginous twist in the philosophical and spiritual journey that is The Holy Mountain. Now, Real Gone Music, in association with ABKCO Music & Records, Inc., presents, for the first time ever on vinyl, the original soundtrack to Alejandro Jodorowsky's 1973 masterpiece The Holy Mountain. The double-LP edition features liner notes by New York Times contributor Eric Benson that include exclusive quotes from Jodorowsky himself, festooned with copious production stills. Produced for release by Grammy-winning producer Teri Landi and Mick Gochanour, and mastered from the original tapes by Joe Yannece (with lacquer cutting on the LP by Carl Rowatti at Trutone Mastering), this long-awaited release of Alejandro Jodorowsky's The Holy Mountain: Original Soundtrack offers a major addition to the soundtrack canon and a completely unique listening experience.
Championed by everybody from John Lennon to Peter Gabriel - and decried by 'establishment' critics ranging from Vincent Canby to Gene Siskel - El Topo remains one of the most controversial movies ever made. Director Alejandro Jodorowsky's bizarre, blood-soaked blend of spaghetti Western, druggy surrealism, Christian allegory, Zen Buddhist themes and avant-garde sensibilities gave rise to the entire 'midnight movie' counterculture phenomenon of the early '70s and forever changed the way adventurous audiences viewed film. Or, for that matter, heard film; for no soundtrack, before or since, has embraced so many styles in its pursuit of spiritual and artistic goals. Atonal, Tibetan Buddhist thighbone trumpets clash with beautiful, even sentimental, chamber orchestra pieces alongside pan flute rhapsodies, brass bands and parlor jazz; that Jodorowsky himself composed the score - after, no doubt, intently studying the work of Morricone - is almost as impressive an artistic achievement as the film itself. Now, Real Gone Music, in partnership with ABKCO Music & Records, is issuing this one-of-a-kind soundtrack album on LP for the first time since the original release produced by Allan Steckler for Apple Records back in 1971. What's more, the four-page booklet boasting some of the film's hallucinogenic imagery that came with the original release will be included in the gatefold LP reissue. Mastered by Joe Yannece at Classic Sound in New York, and produced for reissue by ABKCO's in-house Engineer Teri Landi and Mick Gochanour, with tape transfers by Landi, lacquer cutting by Carl Rowatti at TruTone Mastering and a 180-gram vinyl pressing, Real Gone/ABKCO's release of El Topo on LP fully captures Jodorowsky's singular sonic vision.
A lot of music enthusiasts consider this one of the greatest instrumental albums ever (You can hear music from this album daily on Sirius XM's Ed Lover Show, for example). Originally released in April 2010, How It Should Sound, aka HISS, is the definitive instrumental release by Damu The Fugemunk. “I just want to do hip-hop the way I hear it in my head. It’s about a mood and what records I find: I love digging and finding things that I want people to hear. That’s the beauty of this art form to me. I have a bit of every great producer rolled into me and it’s their approach to manipulating drum breaks and samples that really opened up my ear. I really don’t consider my sound a throwback; I consider it a method of production, a distinct approach to making music.” - Damu The Fudgemunk Redefinition Records is proud to present these timeless instrumentals from Washington D.C.’s finest, Damu The Fudgemunk. Produced mostly between 2004 and 2007, "How It Should Sound" brings together archived material that as yet has only existed on floppy disks stacked in between an oft-frequented MPC and an ever-expanding library of vintage vinyl. Don’t get it twisted though: What you now have in your possession is far more than a collection of sketches. HISS represent a body of lovingly crafted material that bears all the hallmarks of Damu’s signature aesthetic. Crunchy drums bolster intricately woven narratives of soul-infused samples in compositions that thump and groove all at the same time. Horns appear from nowhere before dissolving sumptuously into the mix. Layers are steadily unveiled only to gradually fold back in on themselves. But hey, you knew that already, right? Welcome. In case you hadn’t noticed, this is how it should sound. Stay Tuned for HOW IT SHOULD SOUND Volumes 3, 4 & 5 Coming September 2015.
'Back To Black' is the second album from London-based chanteuse Amy Winehouse. Although her 2003 debut was a success, her rowdy offstage behavior became the focus of tabloids and critics instead of the music. Because of this, Winehouse stepped out of the spotlight and concentrated on putting the focus back on her music. Three years later, her sophomore release has surprised critics and excited her fanbase. Combining a strong, Jazzy vocal style with often frank lyrical content recounting tales of love and loss, Winehouse is a truly talented songwriter with a good ear for melody, making this album an essential purchase.
Limited to 550, all copies hand-numbered and on blue and pink marbled vinyl. Under the guise of über-mack Big Willie Keith, Kool Keith has composed an album that is so over-the-top nasty, you might want to handle it with surgical gloves. Sex Style plays like an amateur porn film, and Keith has kindly included explicit samples from adult films that bump ugly against tracks like "Don't Crush It," "Lovely Lady," and "Plastic World." Keith calls the album "pornocore," an experiment in sexual excess that more than delivers on its premise. Expect some very scratchy, woofer-shaking funk that you'll definitely want to roll with. Only problem is, even the hardest listener might feel too embarrassed to blow the nasty vocal drip from this album out of his car speakers.
Kooyman Records is proud to present the vinyl debut from Sly5thAve & The Clubcasa Chamber Orchestra! Now shipping, Sly’s big brass orchestral funk takes a stab at Mark Ronson and Bruno Mars' chart topping anthem of 2015. Right on time for the Summer’s packed dancefloors, this uptempo 7” is a must for DJs worldwide, between it’s knocking drum groove, Afro-Latin and Brazilian percussion and straight FUNK from the tuba and other ensemble horns that drive this release! Pressed on limited white color 7” vinyl, this record was cut with the collector and DJ in mind, both with a fat sounding pressing and an extended B-Side dance break, a nod to disco-classic vinyl releases of the past. When not conducting, arranging and recording the Clubcasa Chamber Orchestra, Sly5thAve can be found making noise on stage with Prince, Taylor Swift and Quantic, amongst others. Be on the look out for more vinyl from Sly5thAve and Kooyman Records coming soon!
Previously available only on the Gaslamp Killer and Daedelus' 2010 Fall tour, this very rare vinyl single features a Free The Robots remix is limited to the remaining 100 units worldwide.
Backwoodz Studioz is proud to announce the release of billy woods’ new album, Today, I Wrote Nothing. This is the first new billy woods solo work since his critically-acclaimed 2013 collaboration with Blockhead (Ninja Tune, Definitive Jux), Dour Candy. That project was itself a follow-up to woods’ 2012 masterpiece, History Will Absolve Me, cementing billy woods as one of the most vital artists in the genre. The new album features production from Messiah Musik, Busdriver &Aesop Rock, Blockhead, Willie Green, Junclassic and Steel Tipped Dove. Today, I Wrote Nothing also features several guest appearances by labelmates, Elucid, woods’ longtime partner in the rap group Armand Hammer, and Henry Canyons. Only 500 copies are being pressed in this run of limited edition clear vinyl in a gatefold jacket.
Boogie Down Productions was one of the most important hip-hop crews of the 1980s and ‘90s, and are rightfully revered by both fans and scholars. First exploding out of the South Bronx in 1986, the group created an amazing mix of raw power and hyper-intelligence, and gave the world multiple classics throughout the late ‘80s, under the BPD moniker, even after losing DJ and chief producer Scott LaRock to gun violence in 1987. For reasons unknown, the group’s early 1990s output – which also includes Live Hardcore Worldwide and Edutainment – lost some luster in the eyes and ears of fans. But this wasn’t KRS-One’s fault. The legendary MC never faltered in bringing true intelligence and a forward-thinking stance to the rap world, even as derivative gangsta rap took over the music scene on the whole, in the wake of N.W.A. 1992’s Sex & Violence, the last album made under the Boogie Down Productions name, is a perfect example of an underrated classic, and fans will appreciate it getting new shine here, to correct its lukewarm reception upon its initial release. Produced by KRS-One and Pal Joey, the album explores the darkest sides of the American urban landscape and psyche, with KRS as narrator, detailing all sides of the matrix. While singles like the granite hard “Duck Down” and the funky-as-hell “We In There” got most of the attention in ‘92, the deeper sequence reveals plenty of additional gems: the history lesson of the dark and dusty “Drug Dealer”; “Ruff Ruff,” with scowling MC favorite Freddie Foxxx; the grooving “Questions and Answers”; and the frantic “How Not To Get Jerked.” Back on vinyl and ready for another (or, for some, first) listen, fans of old-school-done-right classics have no excuse this time around.
This limited edition issue of Lord Willin’ features seven “big hole” 7”s on white vinyl covering all 13 tracks in the original album sequence, plus a bonus remix of “Grindin‘”. The vinyl is housed in a plastic case featuring the original album art and each 7” is housed in a mini Star Trak die-cut jacket – replicas of the label’s original 12” sleeves. The first hip-hop group signed to The Neptunes' newly formed Star Trak label in the early 2000s was a Virginia based duo known as The Clipse. The group’s first single “Grindin’,” impacted young people with its bare-boned but infectious drum beat in the same way that Run-DMC’s “Sucker MCs” did almost two decades earlier. MCs Pusha T and Malice, combined with The Neptunes’ groundbreaking production, sent a clear message to the rap world – “we are not the same” (as rapped by Malice on his opening verse on “Cot’ Dam”). Pharrell Williams and Chad Hugo were able to combine their electro-punk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z and Mobb Deep, the Clipse offer a hustler's viewpoint, with clever, hard-hitting lyrics that are consistent throughout the album. The album starts off pulling no punches. On the lead-off track, “Intro,” you get a very personal testament of crack and the drug game, a recurring motif. Songs like “Virginia” or “I’m Not You” (featuring Jadakiss, Styles P and Roscoe P Coldchain) have lyrics that play as a musical notes alongside The Neptunes’ tailored beats. “Young Boy” and “Comedy Central” fit perfectly alongside “When the Last Time” and “Cot Dam” as each song plays its part as chapters to the Lord Wilin’ masterpiece. And the stand-out “Gangsta Lean” features a slightly lighter feel paired with Pharrell's trademark falsetto hook. All in all, each song on Lord Willin’ – which was certified Gold – is essential to making it the classic that it. Fans can’t deny that it sounds as good today as it did when it first hit in 2002.
Twenty-two years after he was introduced to the world with "Send Them" — the landmark left-field 12-inch that launched the Solesides label b/w DJ Shadow's "Entropy" — Lyrics Born has made some of the most organic, original, and adventurous music of his entire career. While touring with Latyrx last, he made time for an extended stay in a place that he's long admired: America's first and last real-deal music town, New Orleans. LB stocked up on pads and pens, rented a cozy house three blocks from the famous Maple Leaf Bar, and booked two weeks' worth of sessions with Galactic guys Robert Mercurio and Ben Ellman at their Uptown studio. Then they let it rip. Funk has always been a part of what Lyrics Born does — his unique vocal swagger dishes out melody and rhyme with equal aplomb. But never has he evoked the idiom so directly or made an album that feels so alive. He turned the production over entirely (also a first) to his NOLA colleagues, giving them space to do what they do best, and him the freedom to write. Mercurio and Ellman wrangled a host of talent to execute the vision: Trombone Shorty, Ivan Neville, the Preservation Jazz Hall Band, Corey Glover (Living Colour), Corey Henry (Rebirth Brass Band), David Shaw (The Revivalists), and Billy Martin. Amidst all that quirk, soul, and raw talent, LB was reborn.
Recorded in New York City between 2011 and 2015.
Deluxe reissue of Minneapolis rapper and Doomtree member Sims' first album Lights Out Paris, on the week of its 10-year anniversary. This deluxe edition double LP also comes with a huge fold-out poster containing full printed lyrics from the album for the first time ever. In addition to that, Doomtree has added a digital download card containing full album audio, plus Sims’ super rare 2004 False Hopes Four EP, and four brand new remixes from original Lights Out Paris producers Paper Tiger, MK Larada, Joe Mabbott, and Lazerbeak. Limited 200 quantity run of LPs Digital download card with three new remixes and "False Hopes 4," which contains 5 unreleased recordings from around the time this album initially came out 24"x12" fold-out poster with full printed lyrics and album artwork
With a wide-ranging repertoire that includes funk, soul, jazz, and hip hop, Will Sessions has been one of Detroit’s most active bands for many years. In addition to releasing numerous singles for the cult vinyl-only label Funk Night Records, the band has collaborated with artists as diverse as Elzhi (The Elmatic LP), Griz, Bad Meets Evil (Eminem & Royce 5’9”), Danny Brown, Mayer Hawthorne, and Black Milk. In 2011, they even backed Motown legend Dennis Coffey on the main stage at Bonnaroo. In 2012, Will Sessions introduced Mix Takes 1 / 2, live recreations of some of their favorite hip hop songs presented with seamless transitions in the style of a mixtape. On June 23, 2015, Fat Beats Records will release the third and fourth installment of the series, focusing on classic funk/soul covers, pressed on limited edition vinyl. The complete collection of all four “Takes” will also be released simultaneously as a deluxe edition CD. Mix Takes showcases the band’s individual talents and reflects the airtight performances that have made them one of the hottest live bands in Detroit. Now with Mix Takes complete, Will Sessions prepares to release their first album of funk originals in late 2015.