All posts by ervins


The Old Ceremony

Django Haskins of Durham, NC’s The Old Ceremony wants to cut the crap. He has no more patience for idealized love songs that seep into your blood like sugary cereal, leaving you tired and empty. In fact, he finds them harmful. With his band’s new album, Fairytales and Other Forms of Suicide, their first for Yep Roc Records, Haskins’ artistic awakening reaches full flower. More than any of their past records, Fairytales coheres around a central theme: of awakening to the world as it is and learning to see the beauty in its harshness. Meditations on love (“Fairytales and Other Forms of Suicide,” “The Royal We,” “Day That I Was Born,”), politics (“Sink or Swim”), and scientific progress (“Star by Star”) all return to this central theme, as does the haunting “Beebe, Arkansas,” based on the bizarre phenomenon of 5000 blackbirds dropping dead on a small town overnight two years in a row. It is an album of late night reckonings, punctuated by hopeful blasts of sunshine. And for lovers of classic songcraft, it is a gold mine.

The past two years has seen Haskins singing, playing, and MC’ing a tribute to Big Star’s Third album, in which Big Star drummer Jody Stephens and legendary producer Chris Stamey are joined by members of REM, the Replacements, Posies, Wilco, Yo La Tengo, labelmate Robyn Hitchcock, Sharon Van Etten, even Ray Davies of the Kinks. Performing with many of his heroes in New York, Austin, Barcelona, and London has brought Haskins’ distinctive baritone and rakish sense of humor to new audiences, and it has given him a chance to pay back some old debts. “Alex Chilton’s music has always been a powerful influence on my writing,” Haskins admits. “Getting to sing his songs and perform with so many people I admire has been both a learning experience and an incredible rush. The fact is, everyone on that show owes a debt to Alex, and Alex owed a debt to a bunch of earlier soul and Brit-invasion artists. It’s an unbroken chain of cheerful thievery and gratitude.”

The Old Ceremony began as an atmosphere as much as a band. Songwriter Django Haskins had amassed a raft of songs that just didn’t fit within the confines of the various Costello-esque rock outfits which he had led for years in New York and then in North Carolina. These darker songs required a more nuanced touch, a cinematic approach, in short, a certain atmosphere. They demanded sounds that couldn’t be found in most rock clubs. He created the Old Ceremony to bring them to life, and soon, it became a thriving organism and his exclusive focus. The band garnered early comparisons to Tom Waits, Serge Gainsbourg, Nick Cave, and Leonard Cohen (from whose album the band took its name). Early shows took the shape of events, where fans could come and dip a toe into the dark, continental atmosphere spun out by these songs. Years and many tours later, The Old Ceremony has long since pared down to a core of five members, covering bass, guitar, drums, violin, organ, vibes, and keys, but the focus remains squarely on Haskins’ songcraft and the cinematic textures the band brings to it.

With their new album, Fairytales and Other Forms of Suicide, these textures arrive with unusual clarity. Haskins’ focus may partially be the result of his other recent pursuits: he has spent much of his downtime in the past two years working on two non-fiction book manuscripts, excerpts of which have been published in respected literary and culture blogs and weekly arts newspapers. At first glance the two projects, a biography of Haskins’ Titanic survivor great-grandfather; and a sprawling tour memoir/urban history tract that tries to make sense of four cities that TOC frequents; may seem completely unconnected to Haskins’ songwriting career, but in fact, they all deal with similar themes. “I’m interested in the uses of mythology, whether it be a family mythology or a city’s mythology, and how it can obscure reality in harmful ways,” Haskins says. Thus, Fairytales and Other Forms of Suicide is the product of a tireless, obsessive search. Comparisons to fellow-travelers of dark, cinematic meditations like Cohen or Waits are no longer necessary, for The Old Ceremony has forged its own distinctive sound to accompany Haskins’ songs. It is the sound of seeking: for new textures, for hidden corners of experience, for a flash of truth in an otherwise confusing world.

The band consists of Django Haskins (voice/guitar), Mark Simonsen (vibraphone, organ), Gabriele Pelli (violin/keys), Dan Hall (drums), and Jeff Crawford (bass). They tour extensively in the US, Canada, and Europe and have performed with CAKE, Avett Brothers, Chuck Berry, Mountain Goats, and others. Their songs have appeared in numerous films, including Push, I Do and I Don’t, Leading Ladies, Familiar Strangers, and Elephant Sighs (for which they also composed the score). Their fifth album, Fairytales and Other Forms of Suicide comes out August 21st on Yep Roc Records.


Cheyenne Marie Mize

Whimsical, haunting, dreamlike music that eschews the traditional formulae, Cheyenne Marie Mize presents a rainbow of juxtapositions. The New York Times described her 2010 debut, Before Lately, as “sweet without being cloying, weary without hopelessness,” noting the vast space between notes, yet lack of air.

Before Lately was a slow-burning, introspective, meditative affair. Her follow-up EP, We Don’t Need (out Jan. 24, 2012 on Yep Roc) offers an expansion of the sonic palette she’s established – with more dynamic moods, instrumentation, and experimentation. Using only a dense array of percussion, the opener “Wishing Well” nods to both classic R&B flavors and adventurous modern pop. A somber funeral march provides the backbeat of “Don’t Call Me Beautiful” before Cheyenne showcases her upbeat troubadour chops within the resplendent piano swing of “Going Under.” “Keep It” and “It Lingers” conjures a bombastic form of classic college radio songwriting. Instrumental album closer “Back Around” goes full desert chamber rock – monolithic walls of cavernous sound fill the backdrop behind spacey vocal samples and cinematic strings.

Mize wants listeners to know that “the songs on We Don’t Need are meant to be digested individually more than as continuous parts of a complete whole. Each has its own character and will likely be enjoyed in different mental states. As a whole, We Don’t Need is surely eclectic, but each part gives a little taste of the things to come…”

Indeed, We Don’t Need does not fit easily into a box. The record does work as a whole, though, thanks to the constant winding its way through this varied landscape. Lending a cohesion to this sonic kaleidoscope is a voice that Daytrotter described as “a tone that allows you to stretch your head back to that last great and true love that you experienced – the best form of it that ever came your way – and feel as if it never left.”

Mize introduced herself internationally on the 10″ release Among the Gold with Bonnie “Prince” Billy – an inventive take on a variety of late 19th century American parlor music handpicked by Mize and Oldham. She continued her alliance with Ben Sollee and Daniel Martin Moore as a major player in the Dear Companion tour supporting their collaborative Sub Pop release in early 2010. After the release of her debut later that year and subsequent performances at South By Southwest, Mize was chosen by NPR as one of their ten “Discoveries at SXSW 2011.”


Via App

Via App is an alias of Dylan Scheer, Queens based electronic producer and performer. She started hosting and playing shows, as well as releasing tapes under the moniker in Boston. From there, she moved to New York in 2014 and quickly became part of the city’s experimental electronic scene. Her early live hardware sets got her recognition for their often stark mode of sample manipulation and collage, their dynamic narrative compositions, and their refusal to adhere to any one genre. More recently her live sets have maintained a similar sense of precariousness. She works samples and her synthesized sounds into polyrhythmic infectious grooves which threaten to break at any moment, unpredictably giving way to manic frenzy, or complete pause. Her studio recordings exist, in part, as documentation of her performances and are all recorded live.

In 2015 she released “7 Headed”, a heavily sample-based techno 12” that received critical acclaim, landing her a spot on the top 10 electronic releases of the year in the Wire, and an artist feature on Resident Advisor.  She has toured Europe and played esteemed festivals such as Moogfest, Sustain-Release, and Rewire, and will play Unsound Festival in October. A Via App track is featured in an Objekt mix and its accompanying 12″ of rarities on Tresor which was released this summer. She will release a 12″ on BANK records this fall and her debut LP, Sixth Stitch is set for release on Break World in November.

Jonathon Wilson


“Gentle Spirit” is not simply the name of the debut solo album by songwriter/musician/producer, Jonathan Wilson, it represents the ethos of the artist himself.  Warm, supple melodies etched in layers of stringed instruments and willowy organ motifs accompany his earnest, North Carolinian drawl as he tells tales of humane values lost and found.  

   Wilson’s music is steeped equally in the woodsy contours of his Blue Ridge experiences and the atmospheric guitar reveries of Neil Young and Quicksilver Messenger Service.  In fact, “Gentle Spirit,” an expansive double vinyl set, is remarkably evocative of that golden late ‘60s, early ‘70s period when rural and urban sensibilities colluded in producing some of rock’s most imperishable recordings.

    Wilson, a native of Forest City, North Carolina, has been quietly earning a reputation as a musical jack-of-all-trades.  He is adept behind the recording console, possesses a luthier’s knowledge of all things strummed, and maintains the innate ability to conceptualize an instrument essential to providing the right color to a track in need of a defining detail.  Whether working with promising new recording artists like the band Dawes, contemporary artists, such as Erykah Badu and Elvis Costello, or Rock and Roll Hall of Famers, Jackson Browne, and Robbie Robertson, Wilson, a tall, slim, long-haired presence, provides direction and support as tasty and soulful as anyone in the business today.

    It should then come as no surprise that Wilson, so resolutely committed to “old school” musical values, began recording “Gentle Spirit” in Los Angeles’s fabled Laurel Canyon.  As a longtime student of  “Canyon culture,” his ideas echo many of an earlier generation as the album embraces a unique blend of folk, country, rock and roll and pop elements, which enduringly create a sense of time and place.

      While writing and recording “Gentle Spirit”, “I was consciously trying to hit, ‘dreary day in the canyon,’ that was the original concept,” admits Wilson.  “That was what it was supposed to be. I feel like I achieved that. But, you have to remember the album took a long time, the tracking was done a while ago, and there’s a distance there that I guess was supposed to happen.  And it’s not hot off the tape machine.  Things transpired. That, to me, is a good thing because there is a perspective on display.  I can be detached; and whether this characteristic does this or that, it doesn’t affect me to the greater good of the album.”

  “I loved living and recording in Laurel Canyon,” he reflects.  “I wasn’t trying to find a sound of yore or duplicate any guitar sounds ala Buffalo Springfield or Crazy Horse. But what ends up happening is that the vocal harmony on the album does have a certain type of a tonality and that indeed is the sound of the canyon.”  

  Wilson was crafting the album between tours, album producer jobs and the never-ending jam sessions that constituted canyon life.  “I was never in conflict or had a self-imposed time table around this album,” offers Jonathan. “Maybe just in the last bit, and only because of scheduling considerations. Time went by and things were cool and I never felt anything was on a back burner because it was all sort of my process.

   “For me, I didn’t find I was best served to go into the studio with a batch of songs I’d just done in the last 30 or 60 days and put them down over 6 days. I was better served by having the material unfold over time,” Wilson reinforces.  

  “The only theme on the album has to do with some of the words of the title track, about the desensitizing that we are exposed to on a daily basis, of all the explosions and car bombs and people in despair,” he underscores. “And these things that come at you so fast that you don’t have time to really concentrate on them and give them the reverence and respect they deserve. The album talks about taking some time to, you know, give humanity some kind of reverence-laden soundtrack.      

  “I play a lot of different instruments on my own recordings.  For “Gentle Spirit,” I used a Hofner bass. I played a 1969 Gibson ES 345 a lot, especially when I wanted the guitar tone to cut. It’s the same guitar used by Freddie King. It has a very aggressive kind of bite.“

“I drafted in some friends throughout the recording that allowed me to concentrate on the guitar and vocals. I assembled a band with guys like Otto Hauser for basic tracking that created a certain energy that I couldn’t have produced on my own.  I also brought in specific people for certain songs,” Wilson explains.  “Gary Louris, the singer from The Jayhawks, singer Andy Cabic and drummer Otto Hauser, of the band Vetiver, and pedal steel player Josh Grange all played on the record. Adam McDougal, a good friend of mine who plays Hammond organ with the Black Crowes, drummer Brian Geltner, legendary bassist Gerald Johnson, keyboardist Barry Goldberg and Gary Mallaber, former drummer with the Steve Miller Band and Van Morrison, were all involved, too.”

  “The title track ‘Gentle Spirit’ is the first tune on the album.  I was searching for some sort of positive theme somewhere out there in the abyss and for it to enter the ears and maybe the heart of someone listening.  And it’s just a positive energy to start out the album, a sonic welcome.

   Wilson also included one of his oldest compositions, “Valley of the Silver Moon.”  “It’s a tune about the modern music world not understanding what I have to offer as an artist and the struggle this created.”

  The influence of North Carolina resonates throughout the album.  “Can We Really Party Today?” is a song that talks about the Carolinas and the South. And on “The Ballad of the Pines,” on which I did some harmonies with Chris Robinson, who is a Georgia boy, I was talking about the majestic pines of the South.  As this song, and the others too, unfolded, I found comfort in being able to hear the South despite being out here in California, ‘cause when you’re there, you’re so immersed you don’t realize the effect.”

  “Gentle Spirit” features all original Wilson compositions with the exception of his “psyched out” rendition of Gordon Lightfoot’s “The Way I Feel.”  “It spoke to me,” relates Wilson.  “He’s talking about a kind of weightlessness, and the need for patience which is what I’m all about and ‘Gentle Spirit’ is all about.”

    After leaving Laurel Canyon, Wilson relocated to the Echo Park section of L.A., home to a lively mix of Latin Americans, Bohemians and expressive youth.  It is in his new recording studio, Five Star Studio, where Wilson finished tracking and mixing “Gentle Spirit.  

   “Gentle Spirit” was produced by Wilson.  “I recorded everything to analog tape which I’ve always done; it’s not something I’m trying to do as a boutique kind of hip thing. Analog simply captures things better and it takes the edges off.  It creates a beauty much like film.  I have a console that was built in 1972 and used to belong to Shelter Records.  That’s a big part of the sound for the album.”   

  Given the popular culture’s preoccupation with all things digital, “Gentle Spirit” draws a line in the proverbial sand; the album was conceived for vinyl.  “I would say vinyl is the only real tangible format that contains meaningful value and the only one you can sell to me that retains any value. And to me, that’s on both sides of the table, the consumer and the artist. Even as a record collector I’ve always been vinyl driven.  With vinyl, this is when the record sounds the best and when it comes alive.  To me, this project and the album represent many things tangible and even more things intangible, those that can only be felt.”


Elysia Crampton

Elysia Crampton is a Bolivian-American musician, writer, and abolitionist.

She began making music under the moniker E+E (“Y-[and]-Y” -spanish for “And & And”), collaborating for years with like-minded friends from around the world such as Chino Amobi, Dj Why Be, and Lexxi (musician and founder of the infamous Endless events in London), gaining a devout following within experimental music and coining a unique style out of the resources available to her. Now performing under her given name, she has developed her musical approach into one that is intricately composed, and refined in sound design, while carrying the legacy of her earlier work.

Ongoing themes of spirituality and transformation have made Elysia’s music resonate with audiences around the world. Navigating historical erasure, Her work also explores the adoption of sonic dialects across the Americas and how they shape the way different communities hear not just sounds but frequencies.

In 2015, Elysia released her debut album, American Drift to critical acclaim. Philip Sherburne of Pitchfork stated that the album “helped define the sound of experimental electronic music in 2015.”

Elysia has performed and worked closely with artists like Timur Si Qin, Juliana Huxtable, and Total Freedom (Ashland Mines), and has collaborated with contemporaries such as Kelela.

Her upcoming sophomore release, Elysia Crampton presents: Demon City (with Chino Amobi, Why Be, Rabit, & Lexxi), is a narrative album that works as an epic poem, existing as an official document of the Severo style. The album will be released by Break World Records on July 22, 2016.


Sagan Youth

The wonderment of the natural world, a commitment to experimentation and a utopian ideology define the music of Sagan Youth. Unconstrained by genre limitations, their musical palette is expansive. From cosmic drones to bare-knuckle dancefloor burners to Spaghetti Western-esque organ ditties, Sagan Youth’s sound draws influence from the ideas of their namesake, Carl Sagan, the rich history of electronic and classical music and incalculable hours probing the limits of sonic expression via a plethora of synthesizers and effects units.

It is difficult to pinpoint an exact start date of the group. Its members, Scotty MC^2 and Mai Phili, have lived in Carrboro, NC (which is home to numerous other outstanding underground electronic acts) and have produced music together since at least 2007 under countless guises. In 2012, their first release, a cassette entitled “Heliosheath”, reflected these murky origins: its A-side is a 31-minute opus of analog tape degradation – hazy reflections of half-forgotten melodies barely pierce a primordial hiss. The other side contained a sonic narrative documenting the departure of the space probe Voyager II from our solar system, deftly navigating multiple genres connected by a cohesive vision and all-hardware instrumentation. Their 21st-century take on Komische Musik was further developed in their debut LP, “Annotated Universe”, released by Tone Log in 2013, and presented tracks investigating both the minute and the infinite: a humanistic and holistic interpretation of the cosmos.

In 2015, Sagan Youth brings us “Cela”, an ambitious 10-song concept album which chronicles a futuristic crewed voyage to Saturn’s icy moon of Enceladus. Drawing equally from cutting-edge astronomic discoveries, classic science fiction and Lovecraftian horror, Sagan Youth delivers a diverse selection of electronic compositions, informed by hypnotic Berlin School arpeggios, acid house, 20th century avant-garde works, Italo Disco, dub reggae and much more. The sonic cycle reflects the narrative prowess of Franz Liszt’s symphonic poems as well as the vivid expressionistic qualities in the tone poems of Richard Strauss. “Cela” is presented by Break World Records in a deluxe full-color gatefold sleeve, the inside of which is graced by an intricate Moebius-esque comic that also portrays the album narrative.

Shadowy Men Band

Shadowy Men on a Shadowy Planet

Twenty-plus years after their last reverb trail dissipated, the remains of Shadowy Men on a Shadowy Planet have reconstituted. The Men were first reanimated in 2012 and have been semi-active since, revealing a stature and distinct influence that has only grown since their original incarnation.

Shadowy Men on a Shadowy Planet existed originally between 1984 and 1995, and released three albums and twelve singles, appeared on numerous compilations (including the formative “It Came From Canada” series), toured extensively throughout North America and England, were one of the first Canadian bands to record a Peel Session for BBC D.J. John Peel, beat David Foster out of one of the two Juno’s they were nominated for, backed B-52’s vocalist Fred Schneider on his “Just Fred” album, and scored a couple of feature films and the television series Kids in the Hall. Recent years have seen them named as finalists in Toronto’s daily newspaper, as the Best Toronto Band Ever, and be indicted into the mysterious Independent Music Hall of Fame, for being “true Independent pioneers”.

After years of being out-of-print – and for the very first time as digital downloads – Yep Roc Records will be launching an extensive reissue campaign of the Shadowy Men recordings, including the incredibly snazzy 4-LP box-set Oh, I Guess We Were a Fucking Surf Band After All…

The original three Shadowy Men on a Shadowy Planet albums – Savvy Show Stoppers, Dim The Lights, Chill The Ham, and Sport Fishin – follow in late summer, in deluxe gatefold sleeves, with expanded artwork, liner notes by Bon Von Wheelie, Bry Webb and Scott McCaughey, and contextual essays by band associates and a chihuahua. Translated from Latin and remastered from first generation tapes by Grammy Award winning engineer Peter J. Moore.

Founding members Brian Connelly (guitar) and Don Pyle (drums) are joined by extended family member Dallas Good, of The Sadies, playing bass guitar for the foreseeable future, with select tour dates throughout 2016. S Men bass player Reid Diamond died in 2001 after a battle with cancer, so it is an honour to have long-time friend Dallas playing his parts.

“Shadowy Men are truly the instrumental kings of the Great White North” Ira Robbins, Trouser Press Guide to 90s Rock

“Canada’s best instrumental rock band of all time” Grant Lawrence, CBC host and vocalist with The Smugglers

“It’s music that is as disarmingly fun to listen to as it is deliberate and artful, and for a kid learning to play an instrument and write songs, it laid out how a keen ear can put pop music culture and history in its place, without being a jerk about it.” Bry Webb, solo artist and guitarist/vocalist with The Constantines.


Jake Brennen & The Confidence Men

Arriving on the Boston scene with a rock & roll swagger and a barroom poet’s heart, Jake Brennan is an exciting new voice. With songs that range from anthemic rockers that evoke Petty or Springsteen and a punk energy that evokes his Hardcore roots — as well as echoing the primal Sun Sessions rock sound — Brennan and The Confidence Men have proven that is possible to win over a jaded, indie-rock crowd in America’s most overeducated city and transport them into a sweaty roadhouse somewhere in a mythical American heartland.

Brennan, who walked away from Cast Iron Hike, a promising and successful hardcore band, began taking tentative steps towards a different musical career. An encounter with Paul Kolderie, erstwhile producer of everyone from Morphine to Radiohead to Hole to the Pixies to Joe Jackson, led to a fruitful recording collaboration. Paul recorded Jake & the Confidence Men for a year, searching for the spark and the song that would turn a band with potential into a band with a hit record, prodding and cajoling Jake into writing even better material. In the meantime, Jake hit the road with his band in support of Frank Black, and toured solo with the likes of Evan Dando, Tommy Stinson and The Figgs, perfecting his ability to get his songs across and connect with an audience.

Finally, with two fistfuls of finished songs, Kolderie threw a three-night party to open his new studio (at the site of his greatest triumphs,Fort Apache in Cambridge, MA) and the Confidence Men served as the house band. Local legends stopped by and sat in, and Kolderie rolled the tape. A roving film crew was on hand to capture the music and the scene. These raw tapes will serve as the basis on Brennan’s forthcoming debut album, Love & Bombs, but in the meantime you hold in your hand the first taste of the band’s recorded output (not to mention a trailer for the accompanying film footage included on the forthcoming DVD, Singer-Songriot).

Tracks like “Believe Me,” propelled by Jimmy Ryan’s (Blood Oranges, Catie Curtis) mandolin, and “Everything” demonstrate the range of Brennan’s songwriting, while blistering covers of Frank Black’s “If It Takes All Night” and Moe Bandy’s “It Was Always So Easy” demonstrate his band’s rock & roll fervor and wide-ranging tastes. With a knack for narrative and a yearning, soulful vocal delivery that belies his age, Brennan seems born to be a musician. Evidently, Boston music fans agree: Jake and the Confidence Men recently won WBCN’s 2004 Rock Rumble and have been playing shows with everyone from The Mekons to The Von Bondies in their hometown; planning to hit the road when Love & Bombs drops on September 21.

Young, driven and talented, Brennan isn’t pretentious about his craft. “Some guys are plumbers, some guys fix cars, and I sing songs. And I write ’em. That’s it.”


Jeff Austin

Jeff Austin has been playing professionally for nearly 20 years, most of them as the  vocalist/mandolinist of the game-changing bluegrass jam act Yonder Mountain String Band. Austin has long harbored urges to stretch out musically — and even cast a few pop hooks of his own. He finally makes the leap on The Simple Truth, his solo debut (releasing Feb. 10th, 2015) and maiden voyage with Yep Roc Records. Accompanying him is an eager troupe of trustworthy fellow travelers chartered as the Jeff Austin Band: Danny Barnes (of Bad Livers fame) on banjo, guitars and vocals; Ross Martin on guitars; and Eric Thorin on basses and vocals, with North Mississippi Allstar Cody Dickinson on drums, percussion and electric washboard. The result is an album that truly reflects Austin’s goal of crafting a sonic document unconstrained by the limitations jamgrass, newgrass or whatever other names it wears.The Simple Truth captures the energy and excitement of that party, as well as the quiet moments of contemplation that happen after guests leave. If one must give it a label, Americana will do, but he prefers to call it, simply, “American music, written from my experience as a 40-year-old guy in America.”



Nicholas Dawson has been producing music under the Bookworms moniker since 2012. His early work appeared on the New York dance label, L.I.E.S. His first record for the label, ‘Love Triangles’ remains a classic with ‘African Rhythms’ one of the most iconic tracks from the label. He runs a party and label in New York called Confused House, the party notable for its focus on hardware techno from the city, and abroad. The label released collaborative records from Bookworms and his L.I.E.S. cohort, Steve Summers. Recently Nicholas has released records on the burgeoning BANK imprint based in New York, and Barcelona based label, Anomia. His most recent work, “Appropriation Loops” is his debut full length for Break World, and is in a way a departure from previous styles.

Discussing the new album, Bookworms writes:

“Like Basinski’s tape loops morphing over time, appropriation loops are recurrent, fluctuant feedback loops in popular and unpopular culture.

Rae Sremmund talks about how they’re the new black rock stars with guitars in 2016’s “Black Beatles”, but The Beatles appropriated black American rhythm and blues music from the American South to begin with.

Kraftwerk’s mechanic interpretation of Motown hits of 60s and 70s Detroit was later echoed by Detroit techno producers who subsequently put the funk back in it and made it more minimal.

Detroit techno, for one, could never have been without the device of appropriation…but the device is often misused . People want to know where their chicken comes from (free range ,grass fed, no antibiotics ) but they don’t want to know where their music comes from. Where does it come from ? Trace the appropriation loops to find out….”