Youngbloods Radio

New York’s Youngbloods imprint kicks off their eleventh year of releases with Leaning, the newest full-length collection of recordings from Brooklyn-based rapper and producer Yoh. Shadowy, intimate, and embracing, Leaning underlines Escher-esque songwriting by amalgamizing jazz and electronic inspirations into eight textured, self-produced works. A first generation Afro-Carribean Brooklyn-based mixed-media artist and musician, Yoh’s work reflects his hometown’s roots in hip hop and jazz, while drawing shape from its melting pot of sights, sounds, and cultures. As a core member of local staples Poetic Thrust and Midi Neutron Collective, his energetic mathematical rap style has become a standout within Brooklyn’s hip hop community. As a performer, Yoh has shared the stage with trailblazing contemporaries including Navy Blue, Wiki, Akai Solo, and Nick Hakim. His recorded work, including a solo release with Youngbloods (Holographic) and collaborations with fellow New York multi-instrumentalist Carrtoons (Mirrors, Saturday Night), has been heralded as “boundary-defying” by the likes of Noisey, Pond Magazine, and Week In Pop. Leaning is carved from actively seeking out new experiences, and sees Yoh explore beyond the contours of his creative process in search of a more personal and three-dimensional style of story-telling. In his words: “Leaning” has several meanings in relation to this project. The act of deviating from a linear position, a strong instinct, preference, or; to “lean in,” which is to accept the challenge of doing something difficult. There’s been a lot of “leaning” in my life recently. I found myself taking trips to London and Berlin, allowing me to connect with amazing musicians I otherwise would not have met. I moved to Brazil after meeting my partner, exploring South America and stepping outside of my comfort zone to self-produce every song on this project. I learned to sew and started taking design and fashion more seriously. I began doing more print and commercial work. I learned Portuguese. The merging of all of these mediums showed me that the “what ifs” of life can turn into unexpected and welcomed adventures.” “I'm experimenting while moving as opposed to experiencing life standing still - calculating - which feels new to me. Everything is scary and exciting as I see people engage with ideas I’ve been approaching, all while also realizing that I’m developing more tools to create in ways I didn’t realize I could. I’ve always had a desire to reflect on different spaces and cultures and it feels like I’m always searching for personal truths, but this project makes me feel like those elements I’ve been searching for have been draped over my shoulders all along. Diving head-first into these new experiences provides a clarity to this body of work; one that is more unified with the vision I’ve been iterating upon.” The fruits of Yoh’s newfound philosophy of creation achieves singularity in these new works, illuminating carefully constructed textures and astute stylistic references on top of the familiar foundations of his canon. Craters, Nocturnal Politics, and Cycles juxtapose orchestras of ambient tones and field recordings with Yoh’s classically lyrical and rhythmic delivery of poetry atop meditations in sound design. These serene soundscapes fragment across this project - carefully reassembled with shades of dub, smoky night club jazz, trip hop, and boom-bap rap in Moths, Sableye, and Poor Man’s Rose, reflecting back a colorful mosaic of Yoh’s recent exploits in self-discovery. Zenko and Flowers for Zombies, in sound and lyrics, perhaps best capture the source of Leaning’s vulnerable and receptive qualities - sonically pairing delicate orchestral arrangements with simple, solitary piano mantras and unadulterated, raw vocal melodies. Or, perhaps best recited by Yoh: “What if I’m speeding…what is my life in the grand? I should be leaning.”

New York’s Youngbloods imprint kicks off their eleventh year of releases with Leaning, the newest full-length collection of recordings from Brooklyn-based rapper and producer Yoh. Shadowy, intimate, and embracing, Leaning underlines Escher-esque songwriting by amalgamizing jazz and electronic inspirations into eight textured, self-produced works. A first generation Afro-Carribean Brooklyn-based mixed-media artist and musician, Yoh’s work reflects his hometown’s roots in hip hop and jazz, while drawing shape from its melting pot of sights, sounds, and cultures. As a core member of local staples Poetic Thrust and Midi Neutron Collective, his energetic mathematical rap style has become a standout within Brooklyn’s hip hop community. As a performer, Yoh has shared the stage with trailblazing contemporaries including Navy Blue, Wiki, Akai Solo, and Nick Hakim. His recorded work, including a solo release with Youngbloods (Holographic) and collaborations with fellow New York multi-instrumentalist Carrtoons (Mirrors, Saturday Night), has been heralded as “boundary-defying” by the likes of Noisey, Pond Magazine, and Week In Pop. Leaning is carved from actively seeking out new experiences, and sees Yoh explore beyond the contours of his creative process in search of a more personal and three-dimensional style of story-telling. In his words: “Leaning” has several meanings in relation to this project. The act of deviating from a linear position, a strong instinct, preference, or; to “lean in,” which is to accept the challenge of doing something difficult. There’s been a lot of “leaning” in my life recently. I found myself taking trips to London and Berlin, allowing me to connect with amazing musicians I otherwise would not have met. I moved to Brazil after meeting my partner, exploring South America and stepping outside of my comfort zone to self-produce every song on this project. I learned to sew and started taking design and fashion more seriously. I began doing more print and commercial work. I learned Portuguese. The merging of all of these mediums showed me that the “what ifs” of life can turn into unexpected and welcomed adventures.” “I'm experimenting while moving as opposed to experiencing life standing still - calculating - which feels new to me. Everything is scary and exciting as I see people engage with ideas I’ve been approaching, all while also realizing that I’m developing more tools to create in ways I didn’t realize I could. I’ve always had a desire to reflect on different spaces and cultures and it feels like I’m always searching for personal truths, but this project makes me feel like those elements I’ve been searching for have been draped over my shoulders all along. Diving head-first into these new experiences provides a clarity to this body of work; one that is more unified with the vision I’ve been iterating upon.” The fruits of Yoh’s newfound philosophy of creation achieves singularity in these new works, illuminating carefully constructed textures and astute stylistic references on top of the familiar foundations of his canon. Craters, Nocturnal Politics, and Cycles juxtapose orchestras of ambient tones and field recordings with Yoh’s classically lyrical and rhythmic delivery of poetry atop meditations in sound design. These serene soundscapes fragment across this project - carefully reassembled with shades of dub, smoky night club jazz, trip hop, and boom-bap rap in Moths, Sableye, and Poor Man’s Rose, reflecting back a colorful mosaic of Yoh’s recent exploits in self-discovery. Zenko and Flowers for Zombies, in sound and lyrics, perhaps best capture the source of Leaning’s vulnerable and receptive qualities - sonically pairing delicate orchestral arrangements with simple, solitary piano mantras and unadulterated, raw vocal melodies. Or, perhaps best recited by Yoh: “What if I’m speeding…what is my life in the grand? I should be leaning.”

New York’s Youngbloods imprint kicks off their eleventh year of releases with Leaning, the newest full-length collection of recordings from Brooklyn-based rapper and producer Yoh. Shadowy, intimate, and embracing, Leaning underlines Escher-esque songwriting by amalgamizing jazz and electronic inspirations into eight textured, self-produced works. A first generation Afro-Carribean Brooklyn-based mixed-media artist and musician, Yoh’s work reflects his hometown’s roots in hip hop and jazz, while drawing shape from its melting pot of sights, sounds, and cultures. As a core member of local staples Poetic Thrust and Midi Neutron Collective, his energetic mathematical rap style has become a standout within Brooklyn’s hip hop community. As a performer, Yoh has shared the stage with trailblazing contemporaries including Navy Blue, Wiki, Akai Solo, and Nick Hakim. His recorded work, including a solo release with Youngbloods (Holographic) and collaborations with fellow New York multi-instrumentalist Carrtoons (Mirrors, Saturday Night), has been heralded as “boundary-defying” by the likes of Noisey, Pond Magazine, and Week In Pop. Leaning is carved from actively seeking out new experiences, and sees Yoh explore beyond the contours of his creative process in search of a more personal and three-dimensional style of story-telling. In his words: “Leaning” has several meanings in relation to this project. The act of deviating from a linear position, a strong instinct, preference, or; to “lean in,” which is to accept the challenge of doing something difficult. There’s been a lot of “leaning” in my life recently. I found myself taking trips to London and Berlin, allowing me to connect with amazing musicians I otherwise would not have met. I moved to Brazil after meeting my partner, exploring South America and stepping outside of my comfort zone to self-produce every song on this project. I learned to sew and started taking design and fashion more seriously. I began doing more print and commercial work. I learned Portuguese. The merging of all of these mediums showed me that the “what ifs” of life can turn into unexpected and welcomed adventures.” “I'm experimenting while moving as opposed to experiencing life standing still - calculating - which feels new to me. Everything is scary and exciting as I see people engage with ideas I’ve been approaching, all while also realizing that I’m developing more tools to create in ways I didn’t realize I could. I’ve always had a desire to reflect on different spaces and cultures and it feels like I’m always searching for personal truths, but this project makes me feel like those elements I’ve been searching for have been draped over my shoulders all along. Diving head-first into these new experiences provides a clarity to this body of work; one that is more unified with the vision I’ve been iterating upon.” The fruits of Yoh’s newfound philosophy of creation achieves singularity in these new works, illuminating carefully constructed textures and astute stylistic references on top of the familiar foundations of his canon. Craters, Nocturnal Politics, and Cycles juxtapose orchestras of ambient tones and field recordings with Yoh’s classically lyrical and rhythmic delivery of poetry atop meditations in sound design. These serene soundscapes fragment across this project - carefully reassembled with shades of dub, smoky night club jazz, trip hop, and boom-bap rap in Moths, Sableye, and Poor Man’s Rose, reflecting back a colorful mosaic of Yoh’s recent exploits in self-discovery. Zenko and Flowers for Zombies, in sound and lyrics, perhaps best capture the source of Leaning’s vulnerable and receptive qualities - sonically pairing delicate orchestral arrangements with simple, solitary piano mantras and unadulterated, raw vocal melodies. Or, perhaps best recited by Yoh: “What if I’m speeding…what is my life in the grand? I should be leaning.”

New York’s Youngbloods imprint kicks off their eleventh year of releases with Leaning, the newest full-length collection of recordings from Brooklyn-based rapper and producer Yoh. Shadowy, intimate, and embracing, Leaning underlines Escher-esque songwriting by amalgamizing jazz and electronic inspirations into eight textured, self-produced works. A first generation Afro-Carribean Brooklyn-based mixed-media artist and musician, Yoh’s work reflects his hometown’s roots in hip hop and jazz, while drawing shape from its melting pot of sights, sounds, and cultures. As a core member of local staples Poetic Thrust and Midi Neutron Collective, his energetic mathematical rap style has become a standout within Brooklyn’s hip hop community. As a performer, Yoh has shared the stage with trailblazing contemporaries including Navy Blue, Wiki, Akai Solo, and Nick Hakim. His recorded work, including a solo release with Youngbloods (Holographic) and collaborations with fellow New York multi-instrumentalist Carrtoons (Mirrors, Saturday Night), has been heralded as “boundary-defying” by the likes of Noisey, Pond Magazine, and Week In Pop. Leaning is carved from actively seeking out new experiences, and sees Yoh explore beyond the contours of his creative process in search of a more personal and three-dimensional style of story-telling. In his words: “Leaning” has several meanings in relation to this project. The act of deviating from a linear position, a strong instinct, preference, or; to “lean in,” which is to accept the challenge of doing something difficult. There’s been a lot of “leaning” in my life recently. I found myself taking trips to London and Berlin, allowing me to connect with amazing musicians I otherwise would not have met. I moved to Brazil after meeting my partner, exploring South America and stepping outside of my comfort zone to self-produce every song on this project. I learned to sew and started taking design and fashion more seriously. I began doing more print and commercial work. I learned Portuguese. The merging of all of these mediums showed me that the “what ifs” of life can turn into unexpected and welcomed adventures.” “I'm experimenting while moving as opposed to experiencing life standing still - calculating - which feels new to me. Everything is scary and exciting as I see people engage with ideas I’ve been approaching, all while also realizing that I’m developing more tools to create in ways I didn’t realize I could. I’ve always had a desire to reflect on different spaces and cultures and it feels like I’m always searching for personal truths, but this project makes me feel like those elements I’ve been searching for have been draped over my shoulders all along. Diving head-first into these new experiences provides a clarity to this body of work; one that is more unified with the vision I’ve been iterating upon.” The fruits of Yoh’s newfound philosophy of creation achieves singularity in these new works, illuminating carefully constructed textures and astute stylistic references on top of the familiar foundations of his canon. Craters, Nocturnal Politics, and Cycles juxtapose orchestras of ambient tones and field recordings with Yoh’s classically lyrical and rhythmic delivery of poetry atop meditations in sound design. These serene soundscapes fragment across this project - carefully reassembled with shades of dub, smoky night club jazz, trip hop, and boom-bap rap in Moths, Sableye, and Poor Man’s Rose, reflecting back a colorful mosaic of Yoh’s recent exploits in self-discovery. Zenko and Flowers for Zombies, in sound and lyrics, perhaps best capture the source of Leaning’s vulnerable and receptive qualities - sonically pairing delicate orchestral arrangements with simple, solitary piano mantras and unadulterated, raw vocal melodies. Or, perhaps best recited by Yoh: “What if I’m speeding…what is my life in the grand? I should be leaning.”

New York’s Youngbloods imprint kicks off their eleventh year of releases with Leaning, the newest full-length collection of recordings from Brooklyn-based rapper and producer Yoh. Shadowy, intimate, and embracing, Leaning underlines Escher-esque songwriting by amalgamizing jazz and electronic inspirations into eight textured, self-produced works. A first generation Afro-Carribean Brooklyn-based mixed-media artist and musician, Yoh’s work reflects his hometown’s roots in hip hop and jazz, while drawing shape from its melting pot of sights, sounds, and cultures. As a core member of local staples Poetic Thrust and Midi Neutron Collective, his energetic mathematical rap style has become a standout within Brooklyn’s hip hop community. As a performer, Yoh has shared the stage with trailblazing contemporaries including Navy Blue, Wiki, Akai Solo, and Nick Hakim. His recorded work, including a solo release with Youngbloods (Holographic) and collaborations with fellow New York multi-instrumentalist Carrtoons (Mirrors, Saturday Night), has been heralded as “boundary-defying” by the likes of Noisey, Pond Magazine, and Week In Pop. Leaning is carved from actively seeking out new experiences, and sees Yoh explore beyond the contours of his creative process in search of a more personal and three-dimensional style of story-telling. In his words: “Leaning” has several meanings in relation to this project. The act of deviating from a linear position, a strong instinct, preference, or; to “lean in,” which is to accept the challenge of doing something difficult. There’s been a lot of “leaning” in my life recently. I found myself taking trips to London and Berlin, allowing me to connect with amazing musicians I otherwise would not have met. I moved to Brazil after meeting my partner, exploring South America and stepping outside of my comfort zone to self-produce every song on this project. I learned to sew and started taking design and fashion more seriously. I began doing more print and commercial work. I learned Portuguese. The merging of all of these mediums showed me that the “what ifs” of life can turn into unexpected and welcomed adventures.” “I'm experimenting while moving as opposed to experiencing life standing still - calculating - which feels new to me. Everything is scary and exciting as I see people engage with ideas I’ve been approaching, all while also realizing that I’m developing more tools to create in ways I didn’t realize I could. I’ve always had a desire to reflect on different spaces and cultures and it feels like I’m always searching for personal truths, but this project makes me feel like those elements I’ve been searching for have been draped over my shoulders all along. Diving head-first into these new experiences provides a clarity to this body of work; one that is more unified with the vision I’ve been iterating upon.” The fruits of Yoh’s newfound philosophy of creation achieves singularity in these new works, illuminating carefully constructed textures and astute stylistic references on top of the familiar foundations of his canon. Craters, Nocturnal Politics, and Cycles juxtapose orchestras of ambient tones and field recordings with Yoh’s classically lyrical and rhythmic delivery of poetry atop meditations in sound design. These serene soundscapes fragment across this project - carefully reassembled with shades of dub, smoky night club jazz, trip hop, and boom-bap rap in Moths, Sableye, and Poor Man’s Rose, reflecting back a colorful mosaic of Yoh’s recent exploits in self-discovery. Zenko and Flowers for Zombies, in sound and lyrics, perhaps best capture the source of Leaning’s vulnerable and receptive qualities - sonically pairing delicate orchestral arrangements with simple, solitary piano mantras and unadulterated, raw vocal melodies. Or, perhaps best recited by Yoh: “What if I’m speeding…what is my life in the grand? I should be leaning.”

New York’s Youngbloods imprint kicks off their eleventh year of releases with Leaning, the newest full-length collection of recordings from Brooklyn-based rapper and producer Yoh. Shadowy, intimate, and embracing, Leaning underlines Escher-esque songwriting by amalgamizing jazz and electronic inspirations into eight textured, self-produced works. A first generation Afro-Carribean Brooklyn-based mixed-media artist and musician, Yoh’s work reflects his hometown’s roots in hip hop and jazz, while drawing shape from its melting pot of sights, sounds, and cultures. As a core member of local staples Poetic Thrust and Midi Neutron Collective, his energetic mathematical rap style has become a standout within Brooklyn’s hip hop community. As a performer, Yoh has shared the stage with trailblazing contemporaries including Navy Blue, Wiki, Akai Solo, and Nick Hakim. His recorded work, including a solo release with Youngbloods (Holographic) and collaborations with fellow New York multi-instrumentalist Carrtoons (Mirrors, Saturday Night), has been heralded as “boundary-defying” by the likes of Noisey, Pond Magazine, and Week In Pop. Leaning is carved from actively seeking out new experiences, and sees Yoh explore beyond the contours of his creative process in search of a more personal and three-dimensional style of story-telling. In his words: “Leaning” has several meanings in relation to this project. The act of deviating from a linear position, a strong instinct, preference, or; to “lean in,” which is to accept the challenge of doing something difficult. There’s been a lot of “leaning” in my life recently. I found myself taking trips to London and Berlin, allowing me to connect with amazing musicians I otherwise would not have met. I moved to Brazil after meeting my partner, exploring South America and stepping outside of my comfort zone to self-produce every song on this project. I learned to sew and started taking design and fashion more seriously. I began doing more print and commercial work. I learned Portuguese. The merging of all of these mediums showed me that the “what ifs” of life can turn into unexpected and welcomed adventures.” “I'm experimenting while moving as opposed to experiencing life standing still - calculating - which feels new to me. Everything is scary and exciting as I see people engage with ideas I’ve been approaching, all while also realizing that I’m developing more tools to create in ways I didn’t realize I could. I’ve always had a desire to reflect on different spaces and cultures and it feels like I’m always searching for personal truths, but this project makes me feel like those elements I’ve been searching for have been draped over my shoulders all along. Diving head-first into these new experiences provides a clarity to this body of work; one that is more unified with the vision I’ve been iterating upon.” The fruits of Yoh’s newfound philosophy of creation achieves singularity in these new works, illuminating carefully constructed textures and astute stylistic references on top of the familiar foundations of his canon. Craters, Nocturnal Politics, and Cycles juxtapose orchestras of ambient tones and field recordings with Yoh’s classically lyrical and rhythmic delivery of poetry atop meditations in sound design. These serene soundscapes fragment across this project - carefully reassembled with shades of dub, smoky night club jazz, trip hop, and boom-bap rap in Moths, Sableye, and Poor Man’s Rose, reflecting back a colorful mosaic of Yoh’s recent exploits in self-discovery. Zenko and Flowers for Zombies, in sound and lyrics, perhaps best capture the source of Leaning’s vulnerable and receptive qualities - sonically pairing delicate orchestral arrangements with simple, solitary piano mantras and unadulterated, raw vocal melodies. Or, perhaps best recited by Yoh: “What if I’m speeding…what is my life in the grand? I should be leaning.”

New York’s Youngbloods imprint kicks off their eleventh year of releases with Leaning, the newest full-length collection of recordings from Brooklyn-based rapper and producer Yoh. Shadowy, intimate, and embracing, Leaning underlines Escher-esque songwriting by amalgamizing jazz and electronic inspirations into eight textured, self-produced works. A first generation Afro-Carribean Brooklyn-based mixed-media artist and musician, Yoh’s work reflects his hometown’s roots in hip hop and jazz, while drawing shape from its melting pot of sights, sounds, and cultures. As a core member of local staples Poetic Thrust and Midi Neutron Collective, his energetic mathematical rap style has become a standout within Brooklyn’s hip hop community. As a performer, Yoh has shared the stage with trailblazing contemporaries including Navy Blue, Wiki, Akai Solo, and Nick Hakim. His recorded work, including a solo release with Youngbloods (Holographic) and collaborations with fellow New York multi-instrumentalist Carrtoons (Mirrors, Saturday Night), has been heralded as “boundary-defying” by the likes of Noisey, Pond Magazine, and Week In Pop. Leaning is carved from actively seeking out new experiences, and sees Yoh explore beyond the contours of his creative process in search of a more personal and three-dimensional style of story-telling. In his words: “Leaning” has several meanings in relation to this project. The act of deviating from a linear position, a strong instinct, preference, or; to “lean in,” which is to accept the challenge of doing something difficult. There’s been a lot of “leaning” in my life recently. I found myself taking trips to London and Berlin, allowing me to connect with amazing musicians I otherwise would not have met. I moved to Brazil after meeting my partner, exploring South America and stepping outside of my comfort zone to self-produce every song on this project. I learned to sew and started taking design and fashion more seriously. I began doing more print and commercial work. I learned Portuguese. The merging of all of these mediums showed me that the “what ifs” of life can turn into unexpected and welcomed adventures.” “I'm experimenting while moving as opposed to experiencing life standing still - calculating - which feels new to me. Everything is scary and exciting as I see people engage with ideas I’ve been approaching, all while also realizing that I’m developing more tools to create in ways I didn’t realize I could. I’ve always had a desire to reflect on different spaces and cultures and it feels like I’m always searching for personal truths, but this project makes me feel like those elements I’ve been searching for have been draped over my shoulders all along. Diving head-first into these new experiences provides a clarity to this body of work; one that is more unified with the vision I’ve been iterating upon.” The fruits of Yoh’s newfound philosophy of creation achieves singularity in these new works, illuminating carefully constructed textures and astute stylistic references on top of the familiar foundations of his canon. Craters, Nocturnal Politics, and Cycles juxtapose orchestras of ambient tones and field recordings with Yoh’s classically lyrical and rhythmic delivery of poetry atop meditations in sound design. These serene soundscapes fragment across this project - carefully reassembled with shades of dub, smoky night club jazz, trip hop, and boom-bap rap in Moths, Sableye, and Poor Man’s Rose, reflecting back a colorful mosaic of Yoh’s recent exploits in self-discovery. Zenko and Flowers for Zombies, in sound and lyrics, perhaps best capture the source of Leaning’s vulnerable and receptive qualities - sonically pairing delicate orchestral arrangements with simple, solitary piano mantras and unadulterated, raw vocal melodies. Or, perhaps best recited by Yoh: “What if I’m speeding…what is my life in the grand? I should be leaning.”

New York’s Youngbloods imprint kicks off their eleventh year of releases with Leaning, the newest full-length collection of recordings from Brooklyn-based rapper and producer Yoh. Shadowy, intimate, and embracing, Leaning underlines Escher-esque songwriting by amalgamizing jazz and electronic inspirations into eight textured, self-produced works. A first generation Afro-Carribean Brooklyn-based mixed-media artist and musician, Yoh’s work reflects his hometown’s roots in hip hop and jazz, while drawing shape from its melting pot of sights, sounds, and cultures. As a core member of local staples Poetic Thrust and Midi Neutron Collective, his energetic mathematical rap style has become a standout within Brooklyn’s hip hop community. As a performer, Yoh has shared the stage with trailblazing contemporaries including Navy Blue, Wiki, Akai Solo, and Nick Hakim. His recorded work, including a solo release with Youngbloods (Holographic) and collaborations with fellow New York multi-instrumentalist Carrtoons (Mirrors, Saturday Night), has been heralded as “boundary-defying” by the likes of Noisey, Pond Magazine, and Week In Pop. Leaning is carved from actively seeking out new experiences, and sees Yoh explore beyond the contours of his creative process in search of a more personal and three-dimensional style of story-telling. In his words: “Leaning” has several meanings in relation to this project. The act of deviating from a linear position, a strong instinct, preference, or; to “lean in,” which is to accept the challenge of doing something difficult. There’s been a lot of “leaning” in my life recently. I found myself taking trips to London and Berlin, allowing me to connect with amazing musicians I otherwise would not have met. I moved to Brazil after meeting my partner, exploring South America and stepping outside of my comfort zone to self-produce every song on this project. I learned to sew and started taking design and fashion more seriously. I began doing more print and commercial work. I learned Portuguese. The merging of all of these mediums showed me that the “what ifs” of life can turn into unexpected and welcomed adventures.” “I'm experimenting while moving as opposed to experiencing life standing still - calculating - which feels new to me. Everything is scary and exciting as I see people engage with ideas I’ve been approaching, all while also realizing that I’m developing more tools to create in ways I didn’t realize I could. I’ve always had a desire to reflect on different spaces and cultures and it feels like I’m always searching for personal truths, but this project makes me feel like those elements I’ve been searching for have been draped over my shoulders all along. Diving head-first into these new experiences provides a clarity to this body of work; one that is more unified with the vision I’ve been iterating upon.” The fruits of Yoh’s newfound philosophy of creation achieves singularity in these new works, illuminating carefully constructed textures and astute stylistic references on top of the familiar foundations of his canon. Craters, Nocturnal Politics, and Cycles juxtapose orchestras of ambient tones and field recordings with Yoh’s classically lyrical and rhythmic delivery of poetry atop meditations in sound design. These serene soundscapes fragment across this project - carefully reassembled with shades of dub, smoky night club jazz, trip hop, and boom-bap rap in Moths, Sableye, and Poor Man’s Rose, reflecting back a colorful mosaic of Yoh’s recent exploits in self-discovery. Zenko and Flowers for Zombies, in sound and lyrics, perhaps best capture the source of Leaning’s vulnerable and receptive qualities - sonically pairing delicate orchestral arrangements with simple, solitary piano mantras and unadulterated, raw vocal melodies. Or, perhaps best recited by Yoh: “What if I’m speeding…what is my life in the grand? I should be leaning.”

In step with the varicolored backdrop of Fall, Twin Cities-based band We Are the Willows presents its sonically explorative full-length album IV, available now in collaboration with Brooklyn’s Youngbloods imprint. In title, the album nods to the project being the band’s fourth LP and is shorthand for Inside Voice, a side project between Willows lead Peter Miller and cellist Hilary James (Bathtub Cig) where the record’s writing derived. IV follows a series of three multi-genre EP projects released in 2023, shifting between classically tinged ambience, soaring falsetto mantras, and dancing syncopated rhythms to develop a fully formed amalgamation of the band’s prior output. Across eight new works, We Are the Willows’ latest effort explores their creative process through a procedural and holistic lens, the end result being a wonderfully earnest and stylistically polished discovery of artistic belonging.

In step with the varicolored backdrop of Fall, Twin Cities-based band We Are the Willows presents its sonically explorative full-length album IV, available now in collaboration with Brooklyn’s Youngbloods imprint. In title, the album nods to the project being the band’s fourth LP and is shorthand for Inside Voice, a side project between Willows lead Peter Miller and cellist Hilary James (Bathtub Cig) where the record’s writing derived. IV follows a series of three multi-genre EP projects released in 2023, shifting between classically tinged ambience, soaring falsetto mantras, and dancing syncopated rhythms to develop a fully formed amalgamation of the band’s prior output. Across eight new works, We Are the Willows’ latest effort explores their creative process through a procedural and holistic lens, the end result being a wonderfully earnest and stylistically polished discovery of artistic belonging.

In step with the varicolored backdrop of Fall, Twin Cities-based band We Are the Willows presents its sonically explorative full-length album IV, available now in collaboration with Brooklyn’s Youngbloods imprint. In title, the album nods to the project being the band’s fourth LP and is shorthand for Inside Voice, a side project between Willows lead Peter Miller and cellist Hilary James (Bathtub Cig) where the record’s writing derived. IV follows a series of three multi-genre EP projects released in 2023, shifting between classically tinged ambience, soaring falsetto mantras, and dancing syncopated rhythms to develop a fully formed amalgamation of the band’s prior output. Across eight new works, We Are the Willows’ latest effort explores their creative process through a procedural and holistic lens, the end result being a wonderfully earnest and stylistically polished discovery of artistic belonging.

In step with the varicolored backdrop of Fall, Twin Cities-based band We Are the Willows presents its sonically explorative full-length album IV, available now in collaboration with Brooklyn’s Youngbloods imprint. In title, the album nods to the project being the band’s fourth LP and is shorthand for Inside Voice, a side project between Willows lead Peter Miller and cellist Hilary James (Bathtub Cig) where the record’s writing derived. IV follows a series of three multi-genre EP projects released in 2023, shifting between classically tinged ambience, soaring falsetto mantras, and dancing syncopated rhythms to develop a fully formed amalgamation of the band’s prior output. Across eight new works, We Are the Willows’ latest effort explores their creative process through a procedural and holistic lens, the end result being a wonderfully earnest and stylistically polished discovery of artistic belonging.

In step with the varicolored backdrop of Fall, Twin Cities-based band We Are the Willows presents its sonically explorative full-length album IV, available now in collaboration with Brooklyn’s Youngbloods imprint. In title, the album nods to the project being the band’s fourth LP and is shorthand for Inside Voice, a side project between Willows lead Peter Miller and cellist Hilary James (Bathtub Cig) where the record’s writing derived. IV follows a series of three multi-genre EP projects released in 2023, shifting between classically tinged ambience, soaring falsetto mantras, and dancing syncopated rhythms to develop a fully formed amalgamation of the band’s prior output. Across eight new works, We Are the Willows’ latest effort explores their creative process through a procedural and holistic lens, the end result being a wonderfully earnest and stylistically polished discovery of artistic belonging.

In step with the varicolored backdrop of Fall, Twin Cities-based band We Are the Willows presents its sonically explorative full-length album IV, available now in collaboration with Brooklyn’s Youngbloods imprint. In title, the album nods to the project being the band’s fourth LP and is shorthand for Inside Voice, a side project between Willows lead Peter Miller and cellist Hilary James (Bathtub Cig) where the record’s writing derived. IV follows a series of three multi-genre EP projects released in 2023, shifting between classically tinged ambience, soaring falsetto mantras, and dancing syncopated rhythms to develop a fully formed amalgamation of the band’s prior output. Across eight new works, We Are the Willows’ latest effort explores their creative process through a procedural and holistic lens, the end result being a wonderfully earnest and stylistically polished discovery of artistic belonging.

In step with the varicolored backdrop of Fall, Twin Cities-based band We Are the Willows presents its sonically explorative full-length album IV, available now in collaboration with Brooklyn’s Youngbloods imprint. In title, the album nods to the project being the band’s fourth LP and is shorthand for Inside Voice, a side project between Willows lead Peter Miller and cellist Hilary James (Bathtub Cig) where the record’s writing derived. IV follows a series of three multi-genre EP projects released in 2023, shifting between classically tinged ambience, soaring falsetto mantras, and dancing syncopated rhythms to develop a fully formed amalgamation of the band’s prior output. Across eight new works, We Are the Willows’ latest effort explores their creative process through a procedural and holistic lens, the end result being a wonderfully earnest and stylistically polished discovery of artistic belonging.

In step with the varicolored backdrop of Fall, Twin Cities-based band We Are the Willows presents its sonically explorative full-length album IV, available now in collaboration with Brooklyn’s Youngbloods imprint. In title, the album nods to the project being the band’s fourth LP and is shorthand for Inside Voice, a side project between Willows lead Peter Miller and cellist Hilary James (Bathtub Cig) where the record’s writing derived. IV follows a series of three multi-genre EP projects released in 2023, shifting between classically tinged ambience, soaring falsetto mantras, and dancing syncopated rhythms to develop a fully formed amalgamation of the band’s prior output. Across eight new works, We Are the Willows’ latest effort explores their creative process through a procedural and holistic lens, the end result being a wonderfully earnest and stylistically polished discovery of artistic belonging.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

How do dreams inform who we are? If we love something, why is it that we love it? What does the value of self really mean in the grand scheme of things? Is the posturing that takes place in everyday social life really who we are after all? Are we really alone in the conscious world? Have we been here before? What is the meaning of life and death; are we truly cyclic in all forms? Within Infinity, Nelson Devereaux begs these questions despite knowing there simply is no answer, relishing the peace within that ontological obliteration. That’s the fundamental tapestry of the Minneapolis resident’s jazz-adjacent sophomore album, out now on the Brooklyn based label Youngbloods. Sifting through spaces of ethereal jazz, experimental art pop, and off-kilter IDM-inspired rhythms, Devereaux’s newest collection of works is as adventurous and explorative as it is graceful and precise. Infinity is a swirling brass-tinged love letter to the feeling of wanderlust; a paradoxical effort celebrating the weight, and weightlessness straddled in our waking life.

At the end of every month, as we slip into the last Friday, tune into www.bboxradio.com at Midnight EST (9p PST, 5a LDN, 1p JPN) for exploratory mix sessions from Youngbloods. 01. Erica Dee - Intro 02. @uhlife - no ebola (prod. niceguyxvinny) 03. @vhvl - dnt 04. @braxtoncrosby - Round 1 (prod. oxela. x Crosby) 05. Victory Garden & Pon(d)Gida - Chrohnick 06. Iota (@strangeloveldn) - Nakamura ft. @AmaniFela // INTERLUDE: Laurent Fintoni - An Afternoon In Akiba (Japan Sound Portrait) 07. @NorvisJr - 3413 08. @shongoner - 365 09. @brownsvilleKa - To Hull and Back 10. Ghetto Concept - E-Z On The Motion 11. Niels Freiheit - Gang signs 12. @Gavlyn - Clarity 13. Wallah Umoja - inˈsanədē (instrumental) 14. @DezRapsBetter - 3000Thehardway // INTERLUDE: GIL SCOTT HERON // 15. @AmaniFela - Glossary (prod. @TeKamau) 16. Broke & Repeat Pattern - Take Notes 17. @Soopacrzy - No Doubts ft. @Waju 18. @braxtoncrosby - Majestic (prod. oxela.) 19. @d-o-t-1 - Black Blues 20. @uhlife - untitled (prod. trampers) 21. @BRKCHK - Sweatpants & Bad Habits 22. Matt McGhee - Whatever (ft. rMell) 23. @GDNA-music x @Waju x @Soopacrzy - Day Dreams 24. Jay Prince - Yoko 25. Chango Flash (@strangeloveldn) - The Tree Tape #1 26. OFWGKTA - Oldie 27. Grandmaster Caz - My Name is Hip Hop Freestyle

www.weareyoungbloods.com @krakaur "Bleak EP" (YBZ004) is out Friday, 4 September through all digital outlets. YBZ004 deconstructed by @devoye

At the end of every month, as we slip into the last Friday, tune into www.bboxradio.com at Midnight EST (9p PST, 5a LDN, 1p JPN) for exploratory mix sessions from Youngbloods. 01. *Roommate Intro* 02. Dr. Buzzards Original Savannah Band - Hard Times 03. *James Mtume Lecture* 04. Death Grips - Fuck Me Out 05. Chris Adams - Silver Dusk 06. Crookers ft. Kelis - No Security (Rustie Remix) 07. Lil Jabba - Sooth 08. *Redd Foxx - Ice Cream* 09. Jon Wayne - Drums 1 10. Low Leaf - Hidden Rainforest Supply 11. Kirkis - Disavvy 12. Eazy-E - Radio 13. Roger Roger - Sounds Industrial 1 14. Olatunji - Oya (Primitive Fire) 15. Wendy and Bonnie - The Paisley Window Pane 16. Edan - Clinical Rhymes 17. Prefuse 73 - Living Life 18. Ras G - Tomita Kush 19. MF Doom - Kon Karne 20. Kashif - I’ve Been Missing You 21. Dom Um Romao - Family Talk 22. Katie Dey - Don’t Be Scared 23. *Beyond the Speed of Light* 24. Flying Lotus - Auntie’s Harp (Rebekkah Raff Remix) 25. Towa Tei - Technova 26. Norman Connors - So Much Love 27. John Baker - Jazz Advert 28. *Busta Rhymes - Keep it Movin’* 29. *Power of the Drums* 30. Jahari Massamba Unit ft. Karriem Riggins - Umoja (Unity) 31. Madvillain - Accordian 32. *Fever Tree - Imagination Situation* 33. Miguel Atwood Ferguson and Carlos Niño - Into the Depths 34. Dungen - Samtidgit 2

At the end of every month, as we slip into the last Friday, tune into www.bboxradio.com at Midnight EST (9p PST, 5a LDN, 1p JPN) for exploratory mix sessions from Youngbloods. 01. @jetpackjones - Enter The 4th 02. @krakaur - Rinse (FORTHCOMING YOUNGBLOODS) 03. @vhvl - thy 04. @logan-keller - 篝火 (Cat Dreams) 05. @p_s_s_n_g_r- Breathe 06. @iamharriscole - Tuesday Night (Trap Queen) 07. Sade - Flow 08. @iota-j & @edo_lee - Likewise 09. @yonderboi - Fairy of the Lake 10. @tecsevergreen - This We Know (FORTHCOMING DUSTY INTERNATIONAL) 11. @a-sol-mechanic - 1992 12. @airlocke - Grateful (ft. Joy Postell) 13. @acemo - boarders 14. @vhvl - kkm (UNRELEASED) 15. @potionz - baalbek 16. @kratoshimself - See What Eyes See (Sam A La Bamalot Remix) (FORTHCOMING YOUNGBLOODS) 17. ??? - Fly 18. @countbassd - Jussa Playa 19. Ghost Writerz - Skit 20. B00N - Unwanted Inner Thigh Pipe 21. Yael Naim - Pachad 22. Lee Bannon - Shallowness is the root of all evil 23. @sasquatch - When It Rains (??? Remix) (UNRELEASED) 24. @saulya - Lucy 25. @devoye - Koriyama Sunset Convex 26. @2ndsun - Peak (Suplington Remix) (FORTHCOMING YOUNGBLOODS) www.weareyoungbloods.com

Join us every last Friday on www.bboxradio.com at Midnight Eastern (9p Pacific, 5a London, 1p Japan) for our hour-long radio program. 01. War - Walking to War 02. Resonance - OK Chicago 03. Embryo - Yulius’ Song 04. @giftedandblessed - Rain Dance 05. Nobukazu Takemura - Astral Beads 06. Doug and Jean Carn - My Spirit 07. @jeremiahjae- Vertical Pupils 08. @ahnnu- The Racer 09. @suplington - Lost in Translation (@ryv Remix) 10. Tom Dissevelt and Kid Baltan - The Ray Makers 11. Charles Manson - I’ll Never Say Never to Always 12. Bobby Hutcherson - Hold My Hand 13. Ahmad Jamal - That’s All *Excerpt from Lost Highway* 14. Nabo - Tropic Factor 15. @adjaman - Drug Rats 16. DJ Rels - Waves *Interview with Bruce Haack* 17. Elvin Jones - Phoenix 18. Antonio Sanchez - Internal War 19. @Chesterwatson - Midwest 20. Austin Peralta - Epilogue: Renaissance Bubbles 21. Raymond Scott - Limbo: The Organized Mind 22. @gleizes - YBZ006 Deconstructed Medley (Kick Version)