The Latest

Apr 8, 2014
Feb 12, 2014 / 3 notes

WORDS BY RAKIM

Words is a re-introduction, and aural celebration of hip-hop’s most influential MC. Inspired by the vinyls that birthed the art form, the film is a portrait of two sides of an artist (A & B) and the streets and city he inspired. Two of his verses have been remixed, the words will never change.

The lyrical giants of Hip-Hop’s mid-’80s aren’t the type of guys to always appreciate a camera up in their world. KRS-One, Big Daddy Kane, Rakim (as well as Kool G Rap, Kool Keith, Ice Cube, and Scarface) are big on their privacy.

Rakim’s not a Twitter guy, and he’s never been the type of person that was easily accessible to his peers, let alone those who want to document the culture that Rakim helped re-shape. Before you press play, you know that Rakim agreeing to a video vignette is no small deal. Then, after watching this amazingly-edited vignette on Rakim, New York, and all things between, you really get it. Hip-Hop is still living with giants, and Rakim’s impact on the culture and Heads in 2014 can be lost sometimes, but this stellar film by Matt Bieler just gets it.

Moreover, they got access to Rakim in the studio, backstage, on stage, and traveling. Listening to The R rap his rhymes slowly, over some accented production drives home how timeless the saxophone player-turned-God MC really is.

directed by: matt bieler
produced by: ben feigin, matthew kemp, rakim allah, matt bieler
music by: chris newlin
additional programming by: dane leon
edited by: matt bieler, aidan haley
photographed by: matt bieler, scott forte
music mixed by: danny cocke
final mix by: tom paolantonio
color timing by: santiago padilla
titles by: mike moss
smoke by: david hernandez
words by: rakim
production company: serial pictures / anonymous content

Feb 5, 2014 / 1 note

klurexperience:

ATCO: A Tribute
by Xiomara

Interchanging lyrics and melodies through sultry blues-infused vocals, Berkeley newcomer, Xiomara, takes Outkast and ATCQ classics in an entirely new direction.

credits
released 07 January 2014 
So Fresh So Clean: Written & Arranged by Xiomara

Produced by: Billion Coast
and Xiomara

Guitar and Bass: the Hollywood Farmers - Inferno and Oriole

Percussion: Xiomara

Electric Relaxation:

Produced by: Billion Coast

Arranged by: Billion Coast and Xiomara

Bass & Guitar: The Hollywood Farmers - Inferno and Oriole

Beatboxing: Armani Cooper

Website: www.xiomaramusic.com
Twitter: @TheRealXiomara
Facebook: www.facebook.com/TheRealXiomara
Soundcloud: soundcloud.com/therealxiomara
Contact: info@dedleft.com

Listen/download: ATCO: A Tribute by Xiomara

Feb 5, 2014 / 1 note
Feb 5, 2014 / 7 notes

klurexperience:

Marvin Gaye x Yasiin Bey = Yasiin Gaye (Official Teaser)

Amerigo Gazaway’s new *Soul Mates* series continues the theme of his previous work in creating collaborations that never were. On the series’ first installment, the producer unites Brooklyn rapper Yasiin Bey (Formerly Mos Def) and soul legend Marvin Gaye for a dream collaboration aptly titled “Yasiin Gaye”. Building the album’s foundation from deconstructed samples of Gaye’s Motown classics, Gazaway re-orchestrates the instrumentation into new productions within a similar framework. Carefully weaving Bey’s dense raps and Gaye’ soulful vocals over his new arrangements, the producer delivers a quality far closer to Gaye’s famous duets than that of a “mashup” album.

Download the lead single “Inner City Travellin’ Man” for free below and look out for the full album on February 25th!

Download: http://amerigo.bandcamp.com/album/yasiin-gaye-inner-city-travellin-man-soul-mates-remix

Dec 25, 2013 / 8 notes

Binkbeats performing a J. Dilla Live Mixtape for his Beats Unraveled project.

Subscribe to the channel right here http://bit.ly/12Qlm56

Tracklist:
Make’em NO
E=MC
Wont’ Do
Fall in Love

Filmed by Johannes Fabery de Jonge, Dongwei Su, Bas Vermolen

Location: Noorderkerk at GroningenIntro animation by Teo Skaffa / www.teoskaffa.com

Audio recording and mix by BINKBEATS & Simon Akkermans at the Epic Rainbow Unicorn Studio

Video produced and edited by Bas Vermolen

Special thanks: Club Guy&Roni, Eva, Daniel, Simon, Yola, Pepe&Enric!and special special thanks for Georges for hooking me up with the ghettoblaster!!

http://www.facebook.com/BINKBEATS
http://www.twitter.com/binkbeats

Dec 12, 2013

J Dilla - The 1997 Batch [Full Beat Tape]

unfortunately at a low bitrate :/

but what a find.


Rest In Beats James Dewitt Yancey





Dec 11, 2013

"Nothing Can Come Between Us" was the third release from the band Sade's album Stronger Than Pride. The song was released in the winter of 1988 and peaked at number three on Billboards R&B Charts

Nov 14, 2013

Submotion Orchestra - Fragments (Full Album)

Submotion Orchestra is a live 7-piece project from Leeds, incorporating deep bass-driven grooves and dense textures in their progressive live dubstep sound.


Leaving crowds inspired and often open-mouthed in their wake, this is not live dubstep to be taken lightly. The members have all cut their teeth on live dub, funk, reggae, jazz and even grime bands previously, so are no strangers to complex rhythm or rootical bass. Having been formed in early 2009 as an experimental live project, the band have quickly established themselves as one of the most exciting up-and-coming acts this year.

Nov 14, 2013 / 1 note

To mark the twentieth anniversary of A Tribe Called Quest’s 1993 classic Midnight Marauders, Chris Read has expertly crafted an exclusive mixtape for Wax Poetics and Who Sampled.

Listen up and enjoy!

Tracklist:

1. A Tribe Called Quest – ‘Award Tour’ (Instrumental)
2. Chris Read – ‘Theme #3′ (Scratchapella)
3. Busy Bee & Rodney Cee – ‘MC Battle’ (Extract) (Sampled in ‘Sucka Nigga’)
4. Jack Wilkins – ‘Red Clay’ (Sampled in ‘Sucka Nigga’)
5. A Tribe Called Quest – ‘Sucka Nigga’
6. Roy Ayers – ‘Feel Like Makin’ Love’ (Sampled in ‘Keep It Rollin’)
7. A Tribe Called Quest feat Large Professor – ‘Keep It Rollin’
8. Bob James – ‘Nautlilus’ (Loop) (Sampled in ‘Clap Your Hands’)
9. The Meters – ‘Handclapping Song’ (Sampled in ‘Clap Your Hands’)
10. A Tribe Called Quest – ‘Clap Your Hands’
11. Lou Donaldson – ‘Ode To Billie Joe’ (Loop) (Sampled in ‘Clap Your Hands’)
12. Bola Sete – ‘Bettina’ (Sampled in ’8 Million Stories’)
13. A Tribe Called Quest – ’8 Million Stories’
14. Biz Markie – ‘Nobody Beats The Biz’ (Extract) (Sampled in ‘The Chase Pt II’)
15. Steve Arrington – ‘Beddy Biey’ (Sampled in ‘The Chase Pt II’)
16. A Tribe Called Quest – ‘The Chase Pt II’
17. Michal Urbaniak Group -’ Ekim‘ (Sampled in ‘Steve Biko’)
18. A Tribe Called Quest – ‘Steve Biko’
19. The Whatnauts – ‘Why Can’t People Be Colours Too?’ (Sampled in ‘Oh My God’)
20. Kool & The Gang – ‘Who’s Gonna take The Weight’ (Sampled in ‘Oh My God’)
21. A Tribe Called Quest feat Busta Rhymes – ‘Oh My God’
22. Jimmy McGriff – ‘Dig On It’ (Sampled in ‘God Lives Through’)
23. The JBs – ‘Gimme Some More’ (Extract) (Sampled in ‘God Lives Through’)
24. A Tribe Called Quest – ‘God Lives Through’
25. Clyde McPhatter – ‘Mixed Up Cup’ (Loop) (Sampled in ‘Lyrics To Go’)
26. Ronnie Foster – ‘Mystic Brew’ (Sampled in ‘Electric Relaxation’)
27. A Tribe Called Quest – ‘Electric Relaxation’
28. James Brown – ‘Just Enough Room For Storage’ (Sampled in ‘Lyrics To Go’)
29. Minnie Riperton – ‘Inside My Love’ (Sampled in ‘Lyrics To Go’)
30. A Tribe Called Quest – ‘Lyrics To Go’

Artwork: Leon Nockolds

idja:

Afrobeat historian Chris May celebrates the rarer and lesser-travelled corners of Fela Kuti’s extraordinary discography via VINYNL FACTORY
Words: Chris May
Had he still been alive, 15 October would have been Fela Anikulapo Kuti’s 75th birthday. The Afrobeat originator died in 1997, but his legacy lives on. Kuti’s complete catalogue of almost 50 albums has been released online and on CD by Knitting Factory Records, and the label has also started releasing vinyl. Two box sets, each including six LPs, have so far been issued. The first was curated by Questlove, the second by Kuti’s old friend and occasional drummer, Ginger Baker. Brian Eno, who produced Kuti’s son Seun’s magnificent From Africa With Fury: Rise in 2011, has begun work on curating a third box. KFR also plans to release single LPs.
The last time Kuti’s complete catalogue was released on vinyl was in 1999 by the French label Barclay, with Talkin’ Loud the UK licensee. Until KFR’s vinyl programme has been completed, which may take a year or two, many of Kuti’s best LPs, particularly with his Africa 70 (and Afrika 70) band in the 1970s, are rare treasures. However, in addition to the Barclay/Talkin’ Loud LPs, earlier reissues can sometimes still be found on various African, European, American and Japanese labels.
Here are ten of the finest and the rarest…


Why Black Man Dey Suffer Originally released on African Songs, 1971
In late 1969, following a ten-month spell in the US with his band, the highlife-based Koola Lobitos, Kuti returned to Nigeria, his political education much advanced by exposure to the ideas of contemporary African-American writers and activists such as Stokely Carmichael, Angela Davis and Malcolm X. With a new band, Africa 70, he began writing politically-charged lyrics and developing a new style of music, Afrobeat. Why Black Man Dey Suffer is a key foetal-Afrobeat album. Ginger Baker, who Kuti had befriended in London in the early 1960s, while he was studying at Trinity College of Music, guests on drums.


Shakara Originally released on EMI (Nigeria), 1971
Recorded six months after Why Black Man Dey Suffer, and with Tony Allen, who had played with Kuti since 1964, back on drums, Shakara marked Afrobeat’s transition from its foetal stage to something approaching full-grown form. Kuti’s use of Broken English, from this point onwards a feature of Afrobeat, extended its appeal beyond Yoruba speakers, making Kuti’s lyrics understandable throughout Anglophone Africa, and giving him, with the album’s side-one song, “Lady,” one of his first West African hits. Another of mature Afrobeat’s signature ingredients, solo and “tenor” guitars playing naggingly insistent, interlocking riffs, was also now in place.


Gentleman Originally released on EMI (Nigeria), 1973
On “Gentleman” Kuti ridiculed the adoption of European clothing by post-colonial Africa’s emergent middle class, a trend he identified as symptomatic of a cultural inferiority complex blighting true African independence. “Him put him socks him put him shoes,” he sang, “him put him pants him put him singlet, him put him trouser him put him shirt, him put him tie him put him coat, him come cover all with him hat, him be gentleman, him go sweat all over, him go faint right down, him go smell like shit…I no be gentleman at all-o, I be Africa man, original.” There is much more. It is one of Kuti’s most perfect lyrics.


Before I Jump Like Monkey Give Me Banana Originally released on Coconut, 1975
Recorded at the start of a three-year purple period during which Kuti released an extraordinary 23 albums of new material, “Before I Jump Like Money” was a call to action to Nigeria’s working class, labouring without the benefit of social security or decent public health and education systems, while the Nigerian elite was awash with oil money. If you are going to live like a monkey, Kuti sang, at least make sure the boss throws you a banana. The striking front and back sleeve paintings were created by Ghariokwu Lemi, whose vibrant Afrodelic style graced 26 of Kuti’s sleeves, starting in 1974.


Ikoyi Blindness Originally released on Africa Music, 1976
On the title track, Kuti again drew attention to the economic chasm separating the haves and have-nots of Lagos society. The lyric contrasts the exploitative mindset of residents of the prosperous suburb of Ikoyi to that of the poor inhabitants of the Mushin, Maroko, Ajegunle and Somolu areas, whose “sufferheads” formed Kuti’s core audience. Lemi’s front cover portrait shows a stumbling Ikoyi resident, blind to the social injustices around him. On the cover, Kuti announced Africa 70’s new name, Afrika 70, and his renunciation of his middle name, Ransome, which he considered a slave name, and his adoption instead of Anikulapo.


Kalakuta Show Originally released on EMI (Nigeria), 1976
Kalakuta Republic was Kuti’s self-governing, live/work community in Lagos, and was subject to continual police and army harassment. Kalakuta Show tells the story of the first major assault, made by the police on 23 November 1974. Although it was on a smaller scale than the notorious army attack of 18 February 1977, when 1,000 soldiers burnt Kalakuta to the ground and committed numerous atrocities on its residents, it was a gruesome affair. Kuti himself was so badly beaten that he spent the next three days under police guard in hospital, no photographs allowed. Following a menacing introduction by the Afrika 70 horns, Kuti tells the story.


Zombie Originally released on Coconut, 1976
The army’s sacking of Kalakuta in 1977 was not brought about wholly by Zombie, but the album took the tension then existing between Kuti and the military regime to breaking point. On the title track, over an urgent, quick-march accompaniment from Afrika 70, Kuti ridiculed the men in uniform as mindless thugs, each of his lines punctuated by the female backing chorus’s taunt, “Zombie!” For the army, the lyrics were the final provocation, a direct attack on its pride and prestige, and probably more wounding for being made, in part, by women. Worse still, Zombie was a hit across Africa, adding an international dimension to the insult.


Yellow Fever Originally released on Decca Afrodisia, 1976
“Yellow Fever” was the nickname Lagosians gave to traffic wardens, and Kuti borrowed the expression to describe and decry the fashion among Nigerian women for skin-whitening creams. The song is about cultural identity. Kuti cites skin whitening as an example of the post-colonial, cultural inferiority complex he believed was holding back the country’s development: skin whitening was not only harmful to beauty and health, it was also damaging to women’s psyches. The lyric addresses women much as 1973’s “Gentleman” addressed men, urging them to take pride in their own culture rather than aping their recently departed colonial masters.


J.J.D. (Johnny Just Drop) Originally released on Decca Afrodisia, 1977
In his lyric for “J.J.D. Johnny Just Drop,” Kuti lampooned Nigeria’s “been-tos,” people who had been to Europe or America to work or study and then returned (“dropped”) home with European pretensions and an inferiority complex about African culture. Lemi’s front cover portrays a suited-up been-to, dressed like a cartoon British toff, as he parachutes into a Lagos street to the bemusement of the locals. The back cover shows a more funkily-dressed been-to, wearing US-style ghetto chic, but looking equally out of place. The “Ofersee Hairways” airplane from which this JJD has just dropped refers to his Afro hairstyle, which Kuti regarded as a foreign affectation.


Unknown Soldier Originally released on Phonodisk Skylark, 1979
“Unknown Soldier” addresses the 1977 army attack on Kalakuta, through the prism of the official enquiry which pronounced the military institutionally innocent of arson. An “unknown soldier” was blamed, when all the evidence – including the presence of senior commanders and the obstruction of the fire brigade – pointed to a co-ordinated attack sanctioned by the regime. Much of the lyric concerns Kuti’s mother, 78 years old in 1977 and a hero of Nigeria’s struggle for independence, who died a year later from injuries suffered in the attack. Finally, Kuti observes, “government magic” whitewashes the regime’s violence against its citizens.
Oct 26, 2013 / 1 note

idja:

Afrobeat historian Chris May celebrates the rarer and lesser-travelled corners of Fela Kuti’s extraordinary discography via VINYNL FACTORY

Words: Chris May

Had he still been alive, 15 October would have been Fela Anikulapo Kuti’s 75th birthday. The Afrobeat originator died in 1997, but his legacy lives on. Kuti’s complete catalogue of almost 50 albums has been released online and on CD by Knitting Factory Records, and the label has also started releasing vinyl. Two box sets, each including six LPs, have so far been issued. The first was curated by Questlove, the second by Kuti’s old friend and occasional drummer, Ginger Baker. Brian Eno, who produced Kuti’s son Seun’s magnificent From Africa With Fury: Rise in 2011, has begun work on curating a third box. KFR also plans to release single LPs.

The last time Kuti’s complete catalogue was released on vinyl was in 1999 by the French label Barclay, with Talkin’ Loud the UK licensee. Until KFR’s vinyl programme has been completed, which may take a year or two, many of Kuti’s best LPs, particularly with his Africa 70 (and Afrika 70) band in the 1970s, are rare treasures. However, in addition to the Barclay/Talkin’ Loud LPs, earlier reissues can sometimes still be found on various African, European, American and Japanese labels.

Here are ten of the finest and the rarest…


Why black man dey suffer

Why Black Man Dey Suffer
Originally released on African Songs, 1971

In late 1969, following a ten-month spell in the US with his band, the highlife-based Koola Lobitos, Kuti returned to Nigeria, his political education much advanced by exposure to the ideas of contemporary African-American writers and activists such as Stokely Carmichael, Angela Davis and Malcolm X. With a new band, Africa 70, he began writing politically-charged lyrics and developing a new style of music, Afrobeat. Why Black Man Dey Suffer is a key foetal-Afrobeat album. Ginger Baker, who Kuti had befriended in London in the early 1960s, while he was studying at Trinity College of Music, guests on drums.


shakara

Shakara
Originally released on EMI (Nigeria), 1971

Recorded six months after Why Black Man Dey Suffer, and with Tony Allen, who had played with Kuti since 1964, back on drums, Shakara marked Afrobeat’s transition from its foetal stage to something approaching full-grown form. Kuti’s use of Broken English, from this point onwards a feature of Afrobeat, extended its appeal beyond Yoruba speakers, making Kuti’s lyrics understandable throughout Anglophone Africa, and giving him, with the album’s side-one song, “Lady,” one of his first West African hits. Another of mature Afrobeat’s signature ingredients, solo and “tenor” guitars playing naggingly insistent, interlocking riffs, was also now in place.


gentleman

Gentleman
Originally released on EMI (Nigeria), 1973

On “Gentleman” Kuti ridiculed the adoption of European clothing by post-colonial Africa’s emergent middle class, a trend he identified as symptomatic of a cultural inferiority complex blighting true African independence. “Him put him socks him put him shoes,” he sang, “him put him pants him put him singlet, him put him trouser him put him shirt, him put him tie him put him coat, him come cover all with him hat, him be gentleman, him go sweat all over, him go faint right down, him go smell like shit…I no be gentleman at all-o, I be Africa man, original.” There is much more. It is one of Kuti’s most perfect lyrics.


monkey-banana

Before I Jump Like Monkey Give Me Banana
Originally released on Coconut, 1975

Recorded at the start of a three-year purple period during which Kuti released an extraordinary 23 albums of new material, “Before I Jump Like Money” was a call to action to Nigeria’s working class, labouring without the benefit of social security or decent public health and education systems, while the Nigerian elite was awash with oil money. If you are going to live like a monkey, Kuti sang, at least make sure the boss throws you a banana. The striking front and back sleeve paintings were created by Ghariokwu Lemi, whose vibrant Afrodelic style graced 26 of Kuti’s sleeves, starting in 1974.


ikoyi_blindness

Ikoyi Blindness
Originally released on Africa Music, 1976

On the title track, Kuti again drew attention to the economic chasm separating the haves and have-nots of Lagos society. The lyric contrasts the exploitative mindset of residents of the prosperous suburb of Ikoyi to that of the poor inhabitants of the Mushin, Maroko, Ajegunle and Somolu areas, whose “sufferheads” formed Kuti’s core audience. Lemi’s front cover portrait shows a stumbling Ikoyi resident, blind to the social injustices around him. On the cover, Kuti announced Africa 70’s new name, Afrika 70, and his renunciation of his middle name, Ransome, which he considered a slave name, and his adoption instead of Anikulapo.


kalakuta show

Kalakuta Show
Originally released on EMI (Nigeria), 1976

Kalakuta Republic was Kuti’s self-governing, live/work community in Lagos, and was subject to continual police and army harassment. Kalakuta Show tells the story of the first major assault, made by the police on 23 November 1974. Although it was on a smaller scale than the notorious army attack of 18 February 1977, when 1,000 soldiers burnt Kalakuta to the ground and committed numerous atrocities on its residents, it was a gruesome affair. Kuti himself was so badly beaten that he spent the next three days under police guard in hospital, no photographs allowed. Following a menacing introduction by the Afrika 70 horns, Kuti tells the story.


fela-zombie

Zombie
Originally released on Coconut, 1976

The army’s sacking of Kalakuta in 1977 was not brought about wholly by Zombie, but the album took the tension then existing between Kuti and the military regime to breaking point. On the title track, over an urgent, quick-march accompaniment from Afrika 70, Kuti ridiculed the men in uniform as mindless thugs, each of his lines punctuated by the female backing chorus’s taunt, “Zombie!” For the army, the lyrics were the final provocation, a direct attack on its pride and prestige, and probably more wounding for being made, in part, by women. Worse still, Zombie was a hit across Africa, adding an international dimension to the insult.


yellow fever

Yellow Fever
Originally released on Decca Afrodisia, 1976

“Yellow Fever” was the nickname Lagosians gave to traffic wardens, and Kuti borrowed the expression to describe and decry the fashion among Nigerian women for skin-whitening creams. The song is about cultural identity. Kuti cites skin whitening as an example of the post-colonial, cultural inferiority complex he believed was holding back the country’s development: skin whitening was not only harmful to beauty and health, it was also damaging to women’s psyches. The lyric addresses women much as 1973’s “Gentleman” addressed men, urging them to take pride in their own culture rather than aping their recently departed colonial masters.


JJD

J.J.D. (Johnny Just Drop)
Originally released on Decca Afrodisia, 1977

In his lyric for “J.J.D. Johnny Just Drop,” Kuti lampooned Nigeria’s “been-tos,” people who had been to Europe or America to work or study and then returned (“dropped”) home with European pretensions and an inferiority complex about African culture. Lemi’s front cover portrays a suited-up been-to, dressed like a cartoon British toff, as he parachutes into a Lagos street to the bemusement of the locals. The back cover shows a more funkily-dressed been-to, wearing US-style ghetto chic, but looking equally out of place. The “Ofersee Hairways” airplane from which this JJD has just dropped refers to his Afro hairstyle, which Kuti regarded as a foreign affectation.


unknown soldier

Unknown Soldier
Originally released on Phonodisk Skylark, 1979

“Unknown Soldier” addresses the 1977 army attack on Kalakuta, through the prism of the official enquiry which pronounced the military institutionally innocent of arson. An “unknown soldier” was blamed, when all the evidence – including the presence of senior commanders and the obstruction of the fire brigade – pointed to a co-ordinated attack sanctioned by the regime. Much of the lyric concerns Kuti’s mother, 78 years old in 1977 and a hero of Nigeria’s struggle for independence, who died a year later from injuries suffered in the attack. Finally, Kuti observes, “government magic” whitewashes the regime’s violence against its citizens.


Oct 26, 2013 / 4 notes

Losing My Balance - J. Cole

Album: The Warm Up

Oct 26, 2013 / 3 notes

Balance - Sara Tavares

Sara Alexandra Lima Tavares (born February 1, 1978) is a Portuguese singer, composer, guitarist and percussionist. She was born and brought up in Lisbon, Portugal, where she still lives. Second-generation Portuguese of Cape Verdean descent, she composes African, Portuguese and North American influenced world music. She composes in Portuguese and Portuguese-based creolelanguages. Although Portuguese is the main language of her songs, it’s not rare to find in her repertoire multilingual songs mixing Portuguese with Portuguese creole and even English in the same song.

My first encounter with Sara music was a sample from hip-hop artist, J.Cole of his 2009 mix tape release, “The Warm Up”.  The sample comes fromof her 2006 release Balancê”.

Oct 26, 2013 / 1 note

klurexperience:

Listen/purchase: George Benson Tribute by Amin Payne

This is Amin Payne’s 3rd journey into tributes. This time its through George Benson and it was done only this past month Using Vinyl ONLY samples, live instruments and percussion. 

credits

released 02 October 2013 
TA-KU,BEN BADA BOOM, DOC MASTERMIND, K SABA, MIMISMOOTH
Oct 13, 2013 / 2 notes

Killing Fields - Remy Shand Live 2013 

I just wrote and recorded this yesterday and wanted to share it with you. This song is not part of my public collaboration project. This is the final version. 

Instruments: Vocals, SG (goddess) electric guitar, Echoplex, Roland JP8000, Lexicon reverb.
Written and performed by Remy Shand.