Review: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.
Review: Motor City great Omar S is not just a don when it comes to programming drums and laying down his irresistible synth lines and heart aching melodies. He can also play a wide array of instruments, and in fact does just that here as he plays all instruments played you can hear across all three cuts of this new one on his FXHE label. Things kick off with the wonderful 'Featuring Omar S (instrumental)' and then 'Sayoungaty Nig' is a hazy, lo-fi ambient sound with occasional synth smears and a barely-there rhythm implied by the odd kick drum sound. 'Featuring Omar S' is a signature deep house joint with bristling metal hi-hats, rickety drums and edgy drones that keep you on edge as more soulful chords rise up through the mix.
Review: The classic 1982 funk anthem 'Don't Fight The Feeling' by American r&b and funk band One Way gets a fine 12" pressing here, which means it can be played nice and loud. Singer Al Hudson leads the way with his buttery vocal, while a stepping and broken rhythm with lovely dry claps and w sloppy synth squeal make for a pretty unique sound given when this was first recorded. On the flip side, Windjammer's 'I Thought It Was You' offers a more mellow, melodic contrast full of the band's signature blend of r&b and jazz with cooing, heart-melting vocals and a nice stepping rhythm that lovers of UK street soul will surely be drawn to.
Review: Murray Clark, Chris Deverell, and Robert Ellerby have been responsible for some genuinely inspiring electronic music over the years, their instrumental approach to downtempo and avant garde synth stuff originating in and among the fertile bounty of new ideas that was the early-1990s. On Hear My Mind, the trio - AKA Opik - take us deep into their DAT archives to see what's hiding in the darkness. Two tracks, both equally stunning, 'Hear My Mind' opens the pair with a slow burning, jazz-influenced atmosphere builder, reversed-out harmony floating over stepping bass loop and distant ethereal vocals. 'Kaulsoum' goes for something even more late night and subtly euphoric, growing and developing into a bold and beautiful slice of rave-hued ambient.
Orbital, David Holmes, DJ Helen - "Tonight In Belfast" (feat Mike Garry) (11:58)
Orbital - "Belfast" (David Holmes remix) (12:03)
Review: Poet, librarian, Mancunian, father, husband, uncle, brother. Mike Garry is many things to many people, but tonight, Matthew, his voices guides our eyes upwards, inviting us to stargaze to one of Orbital's most emotionally resonant and timeless pieces of rave noise. Belfast Revisited would be one way to describe it, taking some of the classic and unmistakable elements of that anthem and turning it into something new. First and foremost freshness comes with the spoken word addition - a thoroughly positive, passionate and amorous declaration of unending love that could feel jarring depending on whether you always felt 'Belfast' was reflective and slightly melancholy, or not. Gone too are the breaks, replaced now by stadium-sized four-to-the-floor turning what was once the end of the night walking home at dawn into something that sounds way more 11PM at the concert.
Orchestre Poly-Rythmo De Cotonou-Dahomey - "It's A Vanity" (4:21)
Clement Melome Et Le Orchestre Poly-Rythmo - "Nougbo Vehou (La Verite Blesse)" (4:49)
Review: The legendary Afro funk fusionists Orchestre Poly-Rythmo De Cotonou Dahomey have got unlimited amounts of big tunes in their back catalogue and the fiery 'It's A Vanity' is one of them. It has fat and chunky drums with trademark horns leading the way next to the impassioned vocals. The tune twists and turns on a vibe as it funks you up and then on the flip is the more lo-fi and stripped back, earthen funk sounds of 'Nougbo Vehou' (La Verite Blesse). Anotehr killer 7" reissue from this great collective.
Review: Benin funk supergroup Orchestre Poly-Rythmo de Cotonou have an essential discography that takes in some of the most definitive afro-funk sounds you can hear. The Acid Jazz label serves up a couple of such betters here with 'Kpede Do Gbe Houenou' layering up the driving grooves, killer horns and wild keys into something intoxicating. Less intense but just as good, 'Ma Wa Mon Nou Mi O' brings the guitar work to the fore, with plucked and funky riffs underneath the imploring vocal work that's up top. Both tunes have been restored and remastered.
Review: It's hard to fault the work of the Original Gravity crew and when the tasteful London label's All Stars assemble it's even more important to take note. It is they who kick off 2025 with a classic funky break that is topped with spoken word samples from an MC at a big fight event (though it's not Michael Buffer, the man behind these famous words, because he has a strict copyright on them). The beats are as fiery as a heavyweight showdown with plenty of punchy horn stabs. On the flip, 'Rumble In The Jungle' is a similar sound that makes just as much impact.
Review: This is another fine addition to the Four Flies 45 series: it is a first-ever 7" taken from one of the few soundtracks that legendary producer and composer Paolo Ormi ever wrote (namely a rather underwhelming parody of Woody Allen's Play It Again, Sam). He is best known for his mix of Italian funk, disco and library music, both for underground labels but also stars like Raffaella Carra. All three of the instrumentals here are seriously funky - two of them have actually been put out before as part of this label's hard-to-find compilations Esterno Notte and Esterno Giorno.
Review: Samba flavours do not come more authentic than this. The sixth in Mr Bongo's Brazil 45 series, here they unearth two foundation pieces from Rio collective Os Origianais Do Samba. Forming in 60s Rio, they're still highly active today and have a discography peppered with Brazilian gold. This 45 does well to showcase their breadth... "La Vem Salgueiro" is quintessential samba. Heavy rhythm, punctuated vocals and a dynamic that leaps from bold and delicate in a flash, it charms you instantly. "Tenha Fe" has a softer soul as it strums and sways and more of a folky sensation, tight harmonies and alluring naked instrumentation.
Review: It was the iconic Copacabana Records that put out this classic MPB back in 1964. That makes 'Um Balanco pra voce' by Os Rouxinois one of the oldest releases in Mr Bongo's Brazil45 series and it is also one of the best. Arnaud Rodrigues wrote the tune which is a superb mix of exotic funk, bossa nova rhythms and quirky melodies from a five-track 7" of tunes that the band originally used to play on TV. On the other side, 'O Viajante' is the sort of irresistibly sunny sound that quickly wins your heart and is sure to light up any dancefloor.
Review: Detroit label and weekly party Funk Night rolls out another unmissable 7" here in the form of The Oscillators, who bring a late night and woozy sound to lo-fi production aesthetics. 'The Scoop' is a slow motion and psychedelic tinged groove with squealing guitar leads taking you into melon twisting territory while the flutes keep things in the here and now and the dusty drums rumble on. It is truly intense. 'Spare Cheeks' then has a more upbeat funk feel led by nice horns and a more silky and seductive groove, particularly the lithe bass.
Review: Verdant's tenth release is another meandering and mystic trip through ambient electronic sounds that leaves you a million miles away from wherever you started. All four artists here excel with electro producer Reedale Ris kicking off in languid, far-sighted fashion with their mournful synths and distant cosmic designs. Out.Lier's 'Track 2' is another one cast adrift on deepest space with smeared pads and floating aural details suspending you in mid air. Jo Johnson's cascading synth motifs are pure and innocent and cathartic and Romanticise The World's 'Track 4' is mellifluous and hopeful.
Review: This new 7" offers the chance to discover unearthed killer tunes from the vaults of the Austrian Public Broadcasting Institution (ORF), which officially appear on wax here for the first now time. Stefanie & ORF Big Band are behind 'Compared To What', a hard-hitting funk cut with lo-fi aesthetics and big horns. The flip side version is a subtle tweak with just as much energy. These tracks are pressed in top audio quality as they have been sourced directly from the archive master recordings. This release is a strictly limited edition so do not sleep.
Review: With a title inspired by the utterances of The Oracle of Delphi, a cult of female priestesses who reportedly "changed the course of civilisation" by inhaling volcanic vapours, it's clear that Lee Burtucci and Olivia Block's first collaborative album is rooted in paganistic visions and experimental mysticism. It's comprised of two lengthy tracks, each accompanied by edited 'excerpts', and combines Burtucci's experimental synth sounds and tape loops with Block's processed vocalisations and hazy field recordings. Dark and suspenseful, with each extended composition delivering a mixture of mind-mangling electronics, creepy ambience and musical elements doused in trippy effects, it sits somewhere between the charred "illbient" of DJ Spooky and the deep space soundscapes of the late Pete Namlook.
Review: The latest addition to Night Dreamer's series, Direct To Disk Sessions, sees Turkish downtempo specialist, Islandman, iconic percussionist and Don Cherry collaborator, Okay Temiz and contemporary saz player Muhlis Berbero?lu joining forces for the very first time. Recorded in just one take, the session captures a one-off melding of the trio's distinct styles. Islandman's signature balearic sound gives new force to Temiz's fiery percussion, reframing Berbero?lu's Anadolu folk influences into a distinctly dance-ready sound. Stand out track 'Fidayda' eases us into the trio's expertly improvised soundworld with an alluring, oscillating saz riff. When Temiz's percussion enters the mix, it arrives with a controlled unpredictability capable of leaving listeners in a trance. While Islandman's production subtly centres the piece, mapping out a pathway from which the organic instrumentation can unfurl. Future-folktronica at its very best
Unfolding (Volume 2: Into The Pleasure Garden) (12:08)
Entrancement (7:32)
Ravishment (12:33)
I Don't Know I'm Not A Dream (11:08)
Review: Despite what you might assume, O Yuki Conjugate are actually an English duo. Hailing from the country's renowned hinterland somewhere between ambient and industrial, the pair - better known as Roger Horberry and Andrew Hulme - first started the project in 1982, a time in the nation's history that was particularly fertile for sonic experiments of the synthesised kind.
A Tension of Opposites is proof they have lost little of their imagination and creative spark, even decades later. Born in the first year of the pandemic, 2020, both artists worked in isolation and therefore both had different ideas about how a sonic response to the most batshit crazy situation in living memory should sound. The result, then, is a lush, intoxicating, and thoughtful journey through tonalities, resonance, and deep refrains that offers two sides of the same terrifying, traumatic, and life-changing story.
Review: It's been a long time since Halo: Combat Evolved revolutionised the word of first-person shooter video games. Graphically superior to anything that had come before it, the franchise also benefits from a spectacularly gripping storyline in which humans are outgunned and out-teched by a ruthless and uncompromising alliance of superiorly equipped alien races united as The Covenant. The titular Halo adds a kind of Prometheus air of uncertainty, as nobody really knows what it does until attempts to activate the galaxy-destroying weapon reveal something worse than death - a parasitic breed called the Flood. If all that was enough to blow everyone away in 2001, 2004 brought us to a whole new level of immersion in this future scape. Just like its predecessor, a big part of the impact was the visionary score by gaming soundtrack masters Martin O'Donnell and Michael Savatori. Now here it is in all its Gregorian chanting glory.
The Gun Pointed At The Head Of The Universe (2:25)
Trace Amounts (1:50)
Under Cover Of Night (3:38)
What Once Was Lost (1:40)
Lament For Pvt Jenkins (1:08)
Devils Monsters (1:28)
Covenant Dance (1:46)
Alien Corridors (1:34)
Rock Anthem For Saving The World (1:18)
The Maw (1:04)
Drumrun (1:00)
On A Pale Horse (1:34)
Perchance To Dream (0:55)
Library Suite (6:37)
The Long Run (2:17)
Suite Autumn (4:19)
Shadows (3:47)
Dust & Echoes (2:59)
Halo (1:11)
Review: In the right circles,, Martin O'Donnell and Michael Savatori are living legends. Working with the iconic US video game company Bungie Inc, the pair put their names on the map - or maybe maps? - by creating soundtracks to a number of high profile titles, either as a duo or individually. O'Donnell is arguably the better known, or at least has the bigger online persona, but both composers deserve plenty of credit. Halo: Combat Evolved was the first title in what is now a huge and genre-defining first person shooter franchise, and the score reflects the emergence of video game music as an integral part of the on-screen action. O'Donnell and Savatori's efforts to ensure instrumentation dramatically changed with events in the game, which is by nature relatively non-linear, was a revelation. While their efforts to separate these into individual suites foresaw the rise of playable stories as films in their own right.
Review: Oaagaada is a mysterious quartet from Finland that has long been one of the scene's best-kept secrets. That will change now as they release their highly anticipated debut album on We Jazz Records. Their music is rooted in the spirit of acoustic free jazz pioneers and moves forward on its own unique path. Eschewing sterile hi-fi sounds without embracing a tired lo-fi aesthetic, Oaagaada's album captures the raw energy of their live performances and was recorded at Hameenlinna's Odd Funk studios. Highlights include the brief opener 'Oag-Ada Sweet' and the four-part 'Suite Tuli' while 'Seagull Shapes' evokes the meditative energy of Alice Coltrane and Pharoah Sanders.
Review: For well over a decade, Italian producer, electronic musician and sound designer Ocralab (real name Rocco Biscione) has been serving up immersive and enveloping ambient soundscapes, most of which tend towards the meditative and subtly sun-kissed. That's the trademark sound that he explores on gorgeous new full-length Locus Impervio, a set whose gently rising and falling melodic motifs, calming soundscapes and spacey sounds recall the halcyon days of ambient music in the mid-to-late 1990s. It's a genuinely gorgeous, soul-enriching set all told - the kind of thing we might have expected Pete Namlook, Jonah Sharp, Move D and Mixmaster Morris to put out circa 1994 (albeit with subtle nods to more contemporary, sound design-driven academic ambient releases).
Review: Another comprehensive collection of jazz here from the good people at Light in The Attic. This 14 track compilation has been carefully selected and compiled by Japanese jazz expert Yusuke Ogawa, who is the owner of Tokyo's Universounds record store. It comes on heavyweight vinyl with vast track-by-track liner notes by Ogawa and take sin everything from hard bop to free jazz with plenty of big and explosive moments as well as more deep and introspective sections of calm, all of which has been plucked from the vaults of Nippon Columbia. There is a reason Japanese jazz is so revered, and this record shows why.
Review: Finnish jazz collective Oiro Pena is fronted by the prolific composer and saxophonist Antti Vauhkonen and this new album was recorded in a studio as well as some bedrooms and less salubrious locations around Helsinki, It was recorded in 2022 and mixes up lo-fi jazz, experimental sounds, spiritual overtones and avant-garde musical forms with four vocal tracks featuring Merikukka Kiviharju. As well as original lines, she sings parts from some classic Finnish folk songs. It makes for a powerful and timeless record that comes in heavily limited quantities.
Review: Swiss imprint WRWTFWW continues to do deep dives into the forgotten corners of electronic music history, returning with shining sonic pearls of genuine historic significance. Here they deliver a first ever vinyl pressing of early Japanese electronic music producer (and bona fide experimental hero) Yashio Ojima's 1983 album Club, a set that was originally only released on an exceptionally limited cassette. Given its vintage, the album has held up incredibly well, in part because its unique, unearthly blend of minimalist electro, music concrete-inspired loop experiments, off-kilter ambient soundscapes and picturesque, post new-age soundscapes remains as far-sighted and unusual in 2024 as it did 41 years ago.
Review: Omar is one of the UK's most notable soul stars and revered vocalists. His 1997 album This Is Not A Love Song came at the heart of the acid jazz explosion and remains one of its most vital works. It was his fourth album in a career that has produced nine overall and has plenty of his signature grooves, from the jazz flecked 'This Is Not A Love Song' to the -soul stylings of 'Wherever' via his spine tingling cover of the classic 'Golden Brown'. This is a limited and numbered 180 gram audiophile gold & black marbled vinyl reissue on Music on Vinyl with new a insert.
Review: Having firmly established himself as one of the foremost experimental producers of the past decade with albums like Replica, Returnal, and Rifts, Daniel Lopatin here makes the logical move to electronic music bastion Warp Records. On first listen R Plus Seven is quite unlike any of his other records, largely eschewing the arpeggiated drones of his early work and sample-based collages of his last album for something much more vivid. Coming across like a combination of the emotive minimalism of Terry Riley and Steve Reich, and the hyperreality of James Ferraro's Far Side Virtual, R Plus Seven nevertheless stakes its own claim in the world of post-everything electronic music, combining delicate, introspective moods with shocking moments of recognisable sonic signification. Quite possibly Lopatin's best album to date.
Review: Taeko Onuki's latest release is a live album pressed up to vinyl and capturing her full performance from Tokyo in November 2023. The show featured a seven-piece band with Hirokazu Ogura on guitar, Masato Suzuki on bass, Takashi Numazawa and Tatsuo Hayashi on drums, Febien Reza Panet on piano, and Toshiyuki Mori and Shohei Amamori on keyboards. This album showcases Onuki's dynamic performance with a talented ensemble and a rich array of sounds from the original multi-tracks. It's a great snapshot of the event as well as being a superb contemporary pop exploration across four sides of vinyl.
Review: Five years after 'Jam Ka 2.5 The Tokyo Session,' Japan's renowned jazz guitarist Yosuke Onuma is releasing his first solo guitar album. Known for his genre-blending style that bridges jazz, world music and global sounds, Onuma returns with a new album after a five-year hiatus. His career began with the debut album 'Nu Jazz' in 2001 which showed his versatility across various musical influences. Recently, his 'Jam Ka Project' has gained recognition for blending French Caribbean grooves with modern jazz. This album features carefully selected pieces composed by Onuma between 'Jam Ka' in 2010 and the pre-pandemic period.
Review: Or Bareket is a bassist and composer who is recognised for his great lyricism and rhythmic dexterity. Y?M on Enja Yellowbird is a new work which adds to that reputation and features a vital ensemble of jazz talent including Godwin Louis on alto and soprano sax, Jeremy Corren on piano, Savannah Harris on drums and production by vibraphonist Joel Ross. The LP is something of an evolution for Bareket as a leader and composer as it serves up energetic, focused and emotionally diverse music that reflects the personal and collective reckonings of navigating a post-COVID world.
Review: "The idea was simply to make an ambient album", Dr Alex Paterson has said of The Orb's new album entitled Chill Out, World!. With partner in crime Thomas Fehlmann, the duo resisted looking back and studying their earlier (seminal) recordings and opted for a more spontaneous approach: a focus on where they are at today in 2016. COW is said to have been completed over the course of five sessions in only six months, between a relentless touring schedule which they also credit as being hugely influential on the album's sound. As always, strap yourself in for an immersive sound experience and possibly expect to hear some of the more courageous DJs dropping likes likes of "4am Exhale (Chill Out, World!)" or perhaps "Just Because I Really Really Luv Ya". Oh and the track titles are as baffling as ever too.
Review: Harry Pussy co-founder Bill Orcutt has since moved on from those riotous noise rock years to explore other modes of expression with his guitar. Across an accomplished and many-sided career he's laid down a powerful statement against the idea everything's been done on six strings, and this album is another fine case in point. If the title sounds formal, don't be fooled - there's a raucous energy to Music For Four Guitars. It sounds free and raw, even as it deals in minimal motions between clashing axes played by Orcutt in conversation with himself.
Review: Colemine Records is reissuing Orgone's 2008 classic Bacano on vinyl for the first time, here exclusively for Black Friday RSD 2024. Known for their raw, organic California soul, Orgone's music grabs you by the collar and pulls you to the dance floor. The band's journey began in the San Fernando Valley, where two friends, united by their love for gritty 60s and 70s soul, drew inspiration from the vibrant music scene in Los Angeles during the late 90s. This collaboration ignited a movement, and Orgone has since become a key player in delivering timeless funk for music lovers.
Review: The unearthing of Orquesta La Solvencia's sole album epitomises El Palmas label's mission to preserve Venezuela's salsa heritage by reviving the bold, authentic music that laid the foundations of the genre. Originally released by Corpodisco in 1980, this record featured guaguanco, guaracha, son, and merengue, pre-dating the definitive salsa label. According to Felipe Diaz, La Solvencia's lead singer, numerous orchestras of this kind thrived in Venezuela to entertain communities during patron saint festivities. La Solvencia's irresistible grooves, coupled with lyrics portraying everyday life, endeared them to the Venezuelan salsa aficionados, and us.
La Confianza, Pongan Atencion, La Mulata Encarnacion (3:38)
Cuba Y Africa Son (3:04)
Con El Ritmo Del Tambo (4:29)
Review: This second instalment of Jazz Room's Pure Latin re-releases comes in the form of Orquesta Mayombe's masterpiece, Con Ritmo Del Tambo. First emerging in 1980 and now considered to be a classic example of Nu Yorican El Barrio sound, this is an essential record for fans of Tata Vasquez. Featuring Afro-Cubano jazz heavyweights including Chocolate Armenteros, Jose Mangual, Mauricio Smith, and Orestes Vilato, as well as an astounding seven-person percussion section, it's safe to say this release packs a punch. Travelling through ten dazzling, floor-filling cuts of Afro-Cuban via New York Jazz age tracks, this is a must-have for fans of Latin jazz.
Review: 1970's Hello Herbie reunites The Oscar Peterson Trio with legendary guitarist Herb Ellis for what proved to be a timeless jazz masterpiece. Ellis, who played with greats of the genre such as Stan Getz and Ella Fitzgerald, was a key member of Peterson's trio from 1953-58. This album marks their reunion with Sam Jones on bass and Bobby Durham on drums. Featuring playful interplay between Peterson's virtuosic piano and Ellis' thoughtful guitar, the album is a testament to their musical chemistry and for this reissue has been remastered by Grammy-nominated engineer Christoph Stickel. The LP also includes original tape scans and new liner notes by jazz journalist Scott Yanow to add some extra perspective.
Review: Sit back, relax, stick on Albert Alan Owen's new album Chorales and allow yourself to sink into a deeply spiritual and emotional record that is both minimal and intimate. A meditation of piano that is coated in vinyl crackle, and manages to captivate you from front to back with its sheer melodic beauty. Owen's ability to turn you in on your inner self is second to none. As you get lost in deep thoughts you will not want to come back to the real world. Our suggestion? Don't. Simply put it on again from the start.
Review: Ambient music is all about immersion and you'll be hard-pressed to find anything more immersive than this. New York and Iceland-based composer Masaya Ozaki was born in Niigata, Japan and focuses on "the idea of space as a transient entity," which means his work is imbued with astonishing subtlety and beautifully quiet artistry that really draws you and rewards close attention. Mizukara is his fourth such outing and one that melds field recordings, electro-acoustic sounds and lush synth textures into something that is melancholic and utterly absorbing from front to back. Says the artist, ''this album is a reflection of my current life in Iceland. Where does the self begin and where does it end?' Tune in to find out.
Review: A key component in modern Turkish music since the '70s, Mustafa would have gone under the radar if it wasn't for break diggers. While he's still active to this day, Genclik Lle Elle is largely cited as his creative zenith. Recorded in Istanbul, 1973, the instrumental album takes the funk template and flings it into experimental, often cosmic pastures. Highlights include the planet-hopping glissandos on "Zeytinyagli", the progressive head-swirling frenzy of "Lorke" and the infectious eastern-fused riff on "Emmioglu". Plus it's on coloured vinyl. Plus it's got a monkey sound engineer on the cover. Plus it's limited. This record has a hell of a lot going for it.
Review: We Carry Eden is an album so deep you can plunge right into it and forget the real world entirely. It comes from Son Of Chi, the latest project by Dutch ambient pioneer Hanyo van Oosterom, and it melds drones, field recordings, dub, jazz and fourth world influences across a two-part composition that features storytelling by West African vocalist Omar Ka. A founding member of CHI and Chi Factory, van Oosterom crafts textured soundscapes rooted in meditative grooves and spiritual depth and is inspired by Patmos and Hopi wisdom. He also weaves nature, myth and memory into a unified sonic journey with fine artwork by Michael Willis underlining the message of harmony.
Review: Esteemed ambient auteurs, zake and ossa's collaborative output continues to soothe and delight in equal measure. After Syntheticopia in August 2022 and the dark long-player 'A Pale Shelter' in 2021 between zake, ossa, and City of Dawn comes Module, a collaboration that includes seasoned electronic producer Ruben A. Tamayo, under the alias FAX. The power trio brings forth an eight-track excursion into heavy ambient atmospheres with moody soundscapes and a real weight of melancholy. As always, the textures are grainy and lo-fi, the drones long-held, and the chords which poke through the clouds, bring subtle rays of hope and optimism. It is the latest and maybe the greatest chapter in this ongoing story from zake and ossa with featured collaborators.
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