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Lotus Eater is a duo consisting of Luca Mortellaro (Lucy) and Seth Horvitz (Rrose), techno artists just as comfortable operating in the uncharted area of experimental music who have gained a cult following, both influencing and challenging the direction of contemporary electronic music.

Eschewing the typical instrumentation of techno but still inhabiting its archetypes, Lotus Eater uses synthesised sound and feedback as fundamental sources to generate both textural and percussive elements. A sense of tension and weight emerge from sources that cannot be easily pinpointed. Each release forms a complex narrative from a paradoxically simple and restrained set of sound sources.
Officially formed in 2017, Lotus Eater came to life through several collaborations over a number of years, and finally blossomed with the release of its critically acclaimed debut album "Desatura," which Lotus Eater toured live in 2018 - 2019.

2022 sees the release of the second Lotus Eater album "Plasma" and a new audiovisual live project to accompany it. "Plasma" unfolds with exacting precision by exhibiting a point of focus and expanding on it. It uses a single, throbbing pulse to generate a constellation of sounds and rhythms that form around it like a volcanic eruption in slow motion. Playing with our sense of time and weight, "Plasma" feels simultaneously slow and urgent, spacious and immense. Lotus Eater zooms into the infinite abyss and finds not just light, but fire at the end of the tunnel. Will we be saved, or will we burn?

Discover the wonders of Brazilian music from 60s, 70s & 80s. A wave of modernity invades the country and Soul, Funk & Disco influences merge with traditional genres such as Bossa Nova, Samba or Batucada. This union led to a colorful and cheerful groove symbolizing the transformation of Brazil.

Next on Extra Soul Perception, we're very proud to welcome a new artist to the label, Paddy Fred, with three tracks of antipodean psych soul for his 'Spells' 7".

Paddy Fred is a musician based on the south coast of Wellington, New Zealand, where he grew up. He's played guitar since he was a teen, and went on to study music performance, and toured with a number of bands throughout his twenties. When these bands dissolved in 2011, he began beat making and music production of his own, losing himself in the freedom of making music on his terms.

Inspired after hanging with Flying Lotus & the Brainfeeder crew and clubbing at Low End Theory in Los Angeles, Paddy created his first release, 'Laminate', which dropped in 2013; the same year Paddy entered fatherhood.

After emerging from the "survival zone" of the first five years of parenting, Paddy emerged a little lost, separated from the momentum of his musical career. There then followed a period of self-reflection. As he ran up and over the same coastal path repeatedly, he slowly but surely rekindled his passion for music making, and the work began again…

Paddy came to the attention of the Extra Soul Perception crew courtesy of fellow New Zealander, Mara TK (who provided the label's highly acclaimed 2021 album 'Bad Meditation'). When the guys heard the demos, they signed him on sight.

The lead track 'Spells' consists of big sludgy drums, a growling synth bass, ethereal guitars and spacey vocals, mixing the washed-out slow-mo beat construction of Toro Y Moi with the heady psychedelic soul of Tame Impala and Mildlife. On the flipside 'Found You' is a more tranquil affair, with languorous drums befitting DJ's Khruangbin rhythm section, whilst closer 'Kids' (digital only) offers a robust yet airy finish with an uptempo instrumental akin to the sound palette of late 00s Four Tet.

'Spells' is the first taste of Paddy's new material. Inspired by lost love, babies feet, social fatigue and universes held within rock-pools, this is Paddy Fred at his most true to self, and just a small sample of what's to come.

Oliver Johnson alias Dorian Concept veröffentlicht am 28. Oktober 2022 sein neues Album, „What We Do For Others“, auf Brainfeeder. Es ist das dritte Studioalbum des österreichischen Produzenten und Synthesizer-Experten, der für seine einzigartigen, wunderschön detaillierten Klangteppiche und wilden, gar euphorisierenden Live-Keyboard-Jam-Videos bekannt ist.
„What We Do For Others“ ist ein entspanntes, ruhiges, selbstbewusstes und intimes Album, das auf herrlich lockeren Arrangements und rückgekoppelten Klanglandschaften basiert und mit Fetzen seines eigenen verfremdeten Gesangs unterlegt ist, der eher als zusätzliche Instrumentierung denn als lyrische Phrasen präsentiert wird. Alle Elemente und Schichten wurden ohne Unterbrechungen aufgenommen und absichtlich nicht bearbeitet. „Ich glaube, deshalb hat diese Platte so etwas wie einen ‚Bandsound‘.“, erklärt Johnson. „Ich spiele alle Arten von Tasteninstrumenten, singe und benutze Effektgeräte, um diese freien Kompositionen zu schaffen.“ Der in Wien lebende Johnson ist ein fester Bestandteil der experimentellen Jazz-/ Elektronik-Szene, die im Umfeld von Brainfeeders Aushängeschild Flying Lotus floriert und sich diversifiziert hat. Mit frühen Veröffentlichungen auf dem Kindred Spirits-Label Nod Navigators und Affine Records spielte Johnson bei den ersten internationalen Label-Nächten von Brainfeeder im Jahr 2009 (Off-Sónar in Barcelona und die berüchtigte Hearn Street Car Park-Session in London) und bildete eine starke familiäre Bindung mit der Brainfeeder-Crew, die auf der gemeinsamen Liebe zu freaky Elektronik-Jazz-Fusion beruht. Johnson war an der Produktion von Thundercats „The Golden Age Of Apocalypse“ beteiligt, spielte die Tasten auf Flying Lotus' bahnbrechendem Album, „Cosmogramma“, und tourte mit den Live-Bands von FlyLo und The Cinematic Orchestra. Außerdem steuerte er die Tasten auf MF DOOMs „Lunchbreak“ bei, das von FlyLo und Thundercat produziert wurde. Kürzlich arbeitete er mit Kenny Beats an dessen Debütalbum, „Louie“, zusammen, wobei er bei drei Stücken die Tasten beisteuerte, und tat sich mit einem weiteren Pionier zukunftsorientierter Elektronik - Mark Pritchard - zusammen, um Musik für Damien Jalets zeitgenössische Tanzperformance, „Kites“, an der Göteborger Oper zu komponieren. Im Jahr 2020 arbeitete Oliver mit einem der weltweit führenden Ensembles für zeitgenössische Musik zusammen, dem Klangforum Wien, und komponierte ein Stück namens „Hyperopia“, das beim TRANSART Festival in Österreich aufgeführt wurde. Johnson veröffentlichte sein Debütalbum, „Joined Ends“, 2014 auf Ninja Tune, bevor er 2018 auf Brainfeeder landete, um „The Nature Of Imitation“ zu veröffentlichen: ein Album mit schwindelerregenden Partituren, kakophonischen Breakdowns und formidablen Rhythmen, von denen Pitchfork schwärmte: „Dorian Concept schafft etwas, das Elektro-Funk-Autoren der 70er und 80er Jahre wie Kraftwerk, George Clinton und Roger Troutman angedeutet haben: Computermusik, die den Funk unverhohlen imitiert, anstatt ihn nur zu faken.“.

It’s taken a long time for me to feel good about myself,” says Andreya Triana of the journey to her third album. “As a musician, as a woman, it’s difficult getting to that space. It’s really wonderful where you reach that time of having more good days than bad.” That sense of celebration is what drives ‘Life In Colour’, Andreya’s most confident, instinctive and heartfelt work to date; a record that celebrates love, freedom, independence and womanhood. “‘Life In Colour’ is about stepping into my womanhood and being like ‘OK, I know this space. Let me try some s**t. I know it’s going to be hard but I know it’s going to be OK’. I just wanted to put some good energy out there.” The first taster of that sweet release was teased with lead single ‘Woman’ - a soulful pop anthem of self-love, tracking Andreya’s life from awkward teen to mighty queen, from memories of heartache and trauma to triumph. “You know when you’re feeling so uncomfortable in yourself and you just want to be swallowed up into a hole in the ground?,” Andreya recalls of her youth. “This is about moving on from being a victim to a place of strength, to feeling like a superhero. “Anyone who has gone through difficult times like I have, should know that it’s absolutely possible to get to a good place. It doesn’t define who you are or your future. You have to fight like hell every day to move forward but anything is possible. We’re all full of so much goodness. Don’t lose sight of that.” The lyric video is a tribute to Andreya’s mother, grandmother, the strong females of her life and the many sacrifices that women make day-to-day, generation after generation.

The third album 'Life In Colour' by the MOBO nominated British soul/jazz singer Andreya Triana who's collaborated with Bonobo, Flying Lotus been endorsed by the likes of Gilles Peterson & Jamie Cullum.

Kuedo wird sein neues Album, „Infinite Window“, am 29. Juli 2022 auf Brainfeeder veröffentlichen. Das Ende Juli erscheinende neue Album ist das erste seit „Slow Knife“, das 2016 bei unseren Freund*innen von Planet Mu erschien.

Mit einer Mischung aus Synthesizer-geladenen Avantgarde-Kompositionen und donnerndem Drum-Programming, verdankt das Album modernen R&B-Ikonen wie Frank Ocean und The Weeknd ebenso viel wie legendären Komponist*innen wie David Axelrod, Tangerine Dream und dem jüngst verstorbenen Vangelis oder zeitgenössischen Breakbeat-Aficionados wie Sully und Jlin.
Kuedo (englisch ausgesprochen: Q-dough) ist bekannt für seine Kompositions- und Sounddesign-Arbeiten für Unternehmen wie u.a. Fendi, Bvlgari, Iris Van Herpen oder Nike. Die Veröffentlichung seines kommenden Albums folgt auf eine Zusammenarbeit mit Brainfeeder-Chef Flying Lotus im Jahr 2017 für den Soundtrack von „Blade Runner: Black Out 2022“ (unter der Regie von „Cowboy Bepbop“-Regisseur Shinichiro Watanabe), wobei Kuedo auch die Filme „Eurasia (Questions On Happiness)“ und „The Sprawl (Propaganda About Propaganda)“ von Metahaven vertonte. Die Vorstellung von „Zeit“ - der Blick nach vorn und zurück - zieht sich wie ein roter Faden durch das Album und den Aufnahmeprozess. Die Entstehung von „Infinite Window“ begann Anfang 2021, als Kuedo sich hinsetzte, um ein komplettes Album für Brainfeeder zu komponieren. Die fertige Platte ber ist eine akribisch zusammengestellte Collage aus neuen Kompositionen und verschiedenen Demos und Tonaufnahmen, von denen einige fast zehn Jahre zurückliegen.

Die limitierte Auflage der gelben Vinyl-LP enthält Artwork von den aufstrebenden visuellen Künstler*innen Monja & Vincent und ein Cover-Design von Raf Rennie (Acronym, Prada, Nike).

B. Bravo (aka Adam Mori) returns to Bastard Jazz with the long-awaited follow-up to his 2017 debut LP, "Paradise," with a fresh full-length offering: "Vizionz." Replete with his signature future funk vibes, infectiously soulful grooves, and talkbox excursions, "Vizionz" sees the multifaceted artist take the classic West Coast into outer space. If B. Bravo's last album sought to get lost in paradise - enjoying the moment here and now - "Vizionz" looks forward, feet placed firmly in an established LA vibe, while the matured eyes of a veteran producer gaze keenly to the future.

"Vizionz" arrives following a slew of diverse singles, which highlight B. Bravo's stunning versatility as a songwriter, producer, and collaborator. Last year's "Lifted (What U Waiting 4)" came first, at the end of May, 2020, pairing g-funk talk-box verses and synth lines with rich vocal harmonies and a dance-floor-ready beat. Frequent collaborator Reva DeVito (Miami Horror, Kaytranada) makes a standout vocal appearance on "Fly Bye," the second single. Here, Adam surrounds Reva's vocals with ambient pads, a Dilla-inspired beat, and an irresistible bassline, while Reva's dreamily sings about getting away from it all. The final single, "Believe," sees Chuck Inglish (of the famed duo The Cool Kids) rhyme in his distinctive baritone over a bass-heavy instrumental meant to rattle some car stereos.

The singles offer a view into the rest of the album: Solo B. Bravo joints include "Moon Bounce," a talk-box boogie jam begging for late-night drives with the top down; the largely-instrumental synth improvisation, "Midnight Rider;" the upbeat "Penelope," which showcases Adam's vocal and harmonic prowess; a bumping g-funk interlude, with "Flip Out;" as well as the laid back album opener, "Da Essence."

Further vocal assists come by way of Sally Green on the flirty "10/10," and Rojai on the slow jam ""No Regrets" . Both singers have worked on B. Bravo projects in the past, with Rojai additionally joining forces with Adam to form the duo Kool Customer, whose self-titled debut album was released on Bastard Jazz in 2018. Two more hip-hop-leaning tracks are aided by Def Sound ("Back Times Two") and Nico Fasho ("Ms. Stardust"); leaning heavy into outerspace G-Funk Hip-Hop vibes.

Taken as a whole, "Vizionz" is a much needed boost of serotonin: Uncompromisingly positive, sometimes nostalgic, sometimes aspirational, but always funky. The range of styles is a testament to Adam's indelible production chops, songwriting skill, and ability to collaborate. While it has been a long 5 years since "Paradise," "Vizionz" proves more than worth the wait.

Born and raised in California, with roots in Japan, B. Bravo's signature style of Cosmic Funk and late night synth grooves have made him a favorite among DJ's, dancers, and music lovers worldwide. A tasteful producer, sought after remixer, party rocking DJ, master of the talkbox, band leader, and alumnus of the Red Bull Music Academy, Mr. Bravo is an accomplished performer both at home and abroad.

Heavily inspired by the synthesizer-enhanced R&B grooves of the late '70s and early '80s, B. Bravo debuted in 2009 with the seven-track "Analog Starship" EP. A deeper impression was made the following year with a shorter extended play, "Computa Love," the title track of which was supported by BBC DJ Benji B months prior to release. Additional strides were made with a batch of singles and EPs that followed throughout the next few years, as Bravo toured and performed at numerous festivals around the world.

His relationship with the Brooklyn tastemaker label, Bastard Jazz Recordings, began in 2016 with the 7" single "I'm For Real / Stay The Night' (which notably featured a Mr. Carmack remix of the latter). Bravo's debut solo LP quickly followed with 2017's critically acclaimed "Paradise" - which shone a light on vocalists and frequent collaborators Reva DeVito, Trailer Limon, Kissey, and Lauren Faith - with a remix album appearing six months later.

Additional solo releases have found a home on Gilles Peterson's Brownswood Recordings and Frite Nite, while production credits have appeared on releases from the legendary Blue Note Records, HW&W, All City, Friends of Friends, and Tokyo Dawn. B. Bravo has worked on projects with the likes of Salva, Mr. Carmack, Teeko, DJ Lean Rock, Reva DeVito, Lauren Faith, and Kate Stewart.

Having toured throughout the US, Latin America, Europe and Asia, he's shared the stage with performers like Erykah Badu, Flying Lotus, DāM-FunK, Hudson Mohawke, at a world-spanning range of festivals such as Detroit Electronic Music Fest, HARD LA, Northern Nights, Laneway Singapore, Sonar in Barcelona, Snowglobe, SXSW, Basscoast, Do-Over, Low End Theory, Boiler Room, and Soulection.

B. Bravo's "Vizionz" LP is out on Brooklyn's Bastard Jazz Recordings Spring, 2022.

Terence Etc., besser bekannt unter seinem Vornamen Terence Nance veröffentlicht sein Debütalbum "V O R T E X", am 19. August auf Brainfeeder. Terence, der sich an der Schwelle zur künstlerischen Form bewegt, ist vielleicht am besten für seine mit dem Peabody Award ausgezeichnete experimentelle Comedy-Sketch-Serie auf HBO bekannt: "Random Acts of Flyness". Aber er ist wirklich multidisziplinär. Er zeichnet. Er schreibt. Er singt. Er spielt Gitarre. Er baut Dinge. Er beherbergt in sich eine Vielzahl von Möglichkeiten, eine Vielzahl von Realitäten, die umherschwirren und nach Ausdruck und Gleichgewicht suchen. Und es ist dieser Wunsch nach Gleichgewicht - Gleichgewicht des Lebens, Gleichgewicht der Emotionen, Gleichgewicht der inneren Energien -, der sein Debütalbum "V O R T E X" hervorgebracht hat.

Das Album entzieht sich einer einfachen Kategorisierung, ist aber vom gleichen Experimentier- und Abenteuergeist geprägt wie Terence' Helden und Zeitgenossen, Künstler wie André 3000, Solange, Serpentwithfeet, Nelson Bandela, Standing on the Corner, Earl Sweatshirt, Nick Hakim und Moses Sumney und sogar der illustre Gründer von Brainfeeder, Flying Lotus. V O R T E X bezieht sich auch auf die Literatur von Louise Erdrich und Toni Morrison sowie auf die Zeichnungen von Ruby Amanze, deren Stimme auf dem Album zu hören ist.

The Classic Greg Foat Group line-up returns with special guests Art Themen on Soprano Saxophone and Morgan Simpson (Black Midi) on Drums. Heavy Synth and percussive Grooves

Hudson Mohawke ist für viele ein Produzent, der neben Leuten wie Flying Lotus und Oneohtrix Point Never die moderne Ära von Warp definiert hat. Seine Talente als Klangkünstler und Clubagitator kommen auf 'Cry Sugar' voll zur Geltung, was sich wie das kompromisslose Hudson Mohawke-Album anfühlt, auf das wir alle gewartet haben, auf dem er seine Faszination der Verschmelzung von Hoch- und Trivialkultur auslebt. Schließlich ist er der Architekt der hochauflösenden Trap-Produktion, die sich in den 2010er Jahren zu einem Stil entwickelt hat, der überall - von mit Bierdosen übersäten College-Partys bis hin zu Arby's-Werbespots - Verwendung findet. Amerikanische Dekadenz wird so zu einer Bühne, auf der seine Musik gedeihen kann - der DJ-Pult wird für ihn zum Komponistenpodium, auf dem er das spannungsgeladene Drama zwischen Ausschweifung und Apokalypse inszeniert, die 'mise-en-scene' der Clubkultur 2022.

Hudson Mohawke ist für viele ein Produzent, der neben Leuten wie Flying Lotus und Oneohtrix Point Never die moderne Ära von Warp definiert hat. Seine Talente als Klangkünstler und Clubagitator kommen auf 'Cry Sugar' voll zur Geltung, was sich wie das kompromisslose Hudson Mohawke-Album anfühlt, auf das wir alle gewartet haben, auf dem er seine Faszination der Verschmelzung von Hoch- und Trivialkultur auslebt. Schließlich ist er der Architekt der hochauflösenden Trap-Produktion, die sich in den 2010er Jahren zu einem Stil entwickelt hat, der überall - von mit Bierdosen übersäten College-Partys bis hin zu Arby's-Werbespots - Verwendung findet. Amerikanische Dekadenz wird so zu einer Bühne, auf der seine Musik gedeihen kann - der DJ-Pult wird für ihn zum Komponistenpodium, auf dem er das spannungsgeladene Drama zwischen Ausschweifung und Apokalypse inszeniert, die 'mise-en-scene' der Clubkultur 2022.

Coastal Haze welcome SUCHI to the label, alongside a remix from Priori. Uplifting vocal infused broken beat house four tracker.

One of the most active bebop trumpeters, Kenny Dorham started in the big bands of Mercer, Ellington, Lionel Hampton, Billy Eckstine and Dizzy Gillespie and eventually landed in the Charlie Parker Quintet. In addition, he was a charter member of Art Blakey’s Jazz Messengers, recorded as a sideman with Thelonious Monk and Sonny Rollins and replaced Clifford Brown in the Max Roach Quintet. Throughout his career he can be heard playing trumpet on various recordings with Lou Donaldson, Sonny Stitt, Fats Navarro, Kenny Clarke, Mary Lou Williams and many more musical legends.

“Quiet Kenny” is a jazz masterpiece. Recorded by the great Rudy Van Gelder with a group of musicians playing at the top of their game, this title continues to be one of the most collectible Jazz LPs due to its high demand and short supply.


PLAYERS:

Kenny Dorham, trumpet
Tommy Flanagan, piano
Paul Chambers, bass
Art Taylor, drums

Numero cuatro in the series arrives with Touching Distance- A summertime tour de force effortlessly refined to lure you outside while cleansing you inside. One note guitar licks cozy irresistible gated voxscapes .

Think Lotus Espirit Turbo Challenge on the balearen tinged Mulberry Road- Palm Trees , Fire Sunsets and Open Road. Driving, dreamy and subtle come to mind but take a listen for yourself.

Just like Ancient Philosophy, there’s no expansion without contractions, day and night, Yin and Yang. The B Side’s

Heartbeat Drive low slung pensive breakbeat Rhythm takes the urgency down like a long lost Dub of a mid 80s Ballad. Just Passing Through touches different styles in a culmination of this slightly romantic Art of Noise esque Pop beauty.

This man is unstoppable, Retromigration with all the hits and more - lining up another juicy slice of genius from the depths of Dam for wewillalwaysbealovesong. Showcasing his clear love cross genres, ‘Secret Of A Pimp’ has it all, from dusty jazz samples to R&B licks and delectable basslines, all MPC crunched for good measure. Jimpster then steps up with a darker, club focused, heads down remix.

On the B, ‘Flying Lotus’ hits, an endorphin inducing jazzed up, summertime house heater, before Franc Spangler takes things down slow, with sultry hazed out downtempo trip.

At the tender age of twenty-five, while he was working part-time at an Italian restaurant in Tokyo's Kamata district, Kazuki Tomokawa released his debut record, fittingly titled Finally, His First Album. While he had already penned hundreds of songs, including his first single "Try Saying You're Alive!," written on a long train ride past fields and rice paddies, it was this recording that introduced Japan to one of its most unique musicians of the postwar era. Each track, as record label exec Kiichi Takahara writes in the LP's liner notes (here translated for the first time), is not a song but a "flesh-and-blood human being," birthed by the singer-songwriter and the raw, guttural cries that would become a hallmark of his incomparable sound. 1970s Japan was a time and place marked by a profound desire for authenticity amidst the onset of television and media saturation. Tomokawa arrived on the scene as a musician with "the personality of a hydrogen bomb," to borrow a phrase from his frequent collaborator Toshi Ishizuka. In an unwieldy interview included here, members of the notorious leftist band Zun? Keisatsu (Brain Police) put it bluntly: here was a man surrounded by the "disingenuous," the "wishy-washy," and the "superficial," who was delivering "real life, unvarnished." These songs are lullabies for the lost, staring not into the void but-as the fourth track declares-from inside it. Finally, His First Album is the first of three Tomokawa records to be reissued by Blank Forms Editions in conjunction with the US release of Tomokawa's memoir, Try Saying You're Alive!, the first-ever English translation of his writing. This debut captures the self-assured trademarks that Tomokawa would hone over the course of decades. Multiple tracks are performed in his native Akita dialect, a distinct and highly regional vernacular of northern Japan seldom heard outside the prefecture-and even more rarely heard in music. Tomokawa's lyrics locate profound interiority in the rituals of everyday life, and are sung against sparse folk arrangements of tender, lilting chords-a prelude to the rock and electronic stylings to come in later years. A self-proclaimed "living corpse," Tomokawa wallows, whispers, shouts, and cries, yet still, through his existential doubt, asks to be heard.

Repress !

(November Collective Title) Meditative but heaving with energy, Son Lux's third full-length weaves disparate elements into songs both strange and welcoming. On the heals of being named NPR's 'Best New Artist of the Year', Son Lux has created an album that sits as comfortably next to the compositions of Stravinsky, John Adams, David Lang and Ben Frost, as it does to those of Jamie Lidell, Björk, Flying Lotus, and Radiohead. Equal parts producer and composer, Son Lux (aka Ryan Lott) bridges an unusual gap between old-world music theory and next-level experimentation. Meditative but heaving with energy, 'Lanterns' finds a peculiar congruency between futuristic soul and ancient sentiment. Driving orchestral electronica (Lost It To Trying, No Crimes) is placed alongside creepy minimalism (Pyre), often starkly juxtaposing densely layered arrangements with Lott's fragile voice. In recent past Son Lux has gained notoriety both for his s/s/s project (with Sufjan Stevens and Serengeti), and from being named NPR's 'Best New Artist of the Year'. His third full-length album, and his first for Joyful Noise (Kishi Bashi, Sebadoh, etc.), positions Son Lux at the helm of an impressive ensemble of instrumentalists and singers, including Chris Thile (The Punch Brothers), Peter Silberman (The Antlers), DM Stith, Lily & Madeleine, Darren King (Mutemath), Ieva Berberian (Gem Club) and yMusic (Dirty Projectors, Bon Iver).

JOYFULTALK returns with its third album for Constellation; another vibrantly divergent stylistic take on the analog materiality and sensibility of electronic composer-producer Jay Crocker, whose previous two records forged trance-inducing polyrhythmic intricacy, each from a distinct angle and sound palette, each enlisting a single instrumental collaborator. Familiar Science rallies contributions from a larger cast of musicians into a looser, cosmic recombinant combo_still shot through with JOYFULTALK's singular mixing desk kinetics, but this time deep-diving into gnarled and twisted, spliced and diced out-jazz. Crocker draws inspiration from 1980s M-Base music and Ornette Coleman's harmolodic funk period, while his own prior history as an improv guitarist also resurfaces for the first time in many years_an element in this polyvalent artist's chemistry set that hasn't appeared prominently in his own music for over a decade. Familiar Science finds Crocker folding time (as lockdown will do), immersed in his present-day kaleidoscope of solitary art and music practices in rural Nova Scotia, while channeling his former life as a bustling jazz collaborator in Calgary, Alberta. Building outwards from roiling resampled acoustic drums, Crocker extracted additional sonic and rhythmic textures, then formed the head of each song using dusted-off archival recordings and his own bass, keys and midi sequencing. Albertan percussionists Eric Hamelin (Ghostkeeper, Chad Vangaalen) and Chris Dadge (Lab Coast, Alvvays) provided improvised drum tracks to be chopped and harvested; Nova Scotia-based Nicola Miller (Ryan Driver, Doug Tielli) laid down resplendent excursions on saxophone and flute; Crocker's own dexterous guitar appears on several cuts. Familiar Science also poignantly features samples from live recordings by the late Calgary saxophonisticonoclast Dan Meichel, catalysing some of the album's heaviest contortions. Crocker weaves all these raw materials into exuberant compositions that blur the line between sizzling corporeal combo and sampledelic futurist jamz, variously conjuring (leftfield) Flying Lotus, (later) Tortoise, BADBADNOTGOOD and Squarepusher's Music Is Rotted One Note. The rubbery hyper-compression of boom-bap opener "Body Stone" initiates the séance, and the album offers a panoply of skittering grooves and soaring melodic pathways thereafter, through quags of heady jazz alternately streaked with dayglo delirium and other more vaporous states of revelry. Crocker's own wordless stacked vocals are the giddy secret sauce on several cuts, and his lead guitar work (in kinship with the lean progressions of Mary Halvorson or Jeff Parker) features on "Take It To The Grave", "Stop Freaking Out!" and the album's title track. More honeyed passages on songs like "Blissed For A Minute" and "Ballad In 9" center around Miller's bouyant alto sax and flute. Familiar Science is a rousing feast of noise-tinged polychrome electronic avant-jazz: richly harmolodic compositions teeming with intersecting textures and turbulences; exploratory, exhilarated and indeed joyful.