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2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

"Escapism" is the second album produced by Piotr Rajski also known as Pepe.. Once again, he offered us music that is hard to close in one genre and is best described by the artist himself:
At the time of creating this album, the world was absolutely dominated by the pandemic turning our lives upside down. Writing new music has became a way to escape from disturbing reality.

According to Paweł Bartnik who also mixed and mastered my first album "Afterimages", the second one is more colourful and vivid. I think he described well the idea I had in mind while recording the new tracks. I wanted them to stay in that dreamy tone which can't be referred to only one genre.

The record was pressed on 180g vinyl.

Limited version was made in 100 copies - each vinyl record has a different splatter color! "Very Limited Surprise Edition"

I found "Escapism" a great opportunity to combine my UK inspirations ("Vanity Fair", "WQRWY") and rap fascinations from Money Sex Records or Tartelet Records ("Realizm Magiczny"). While working on the album my biggest inspirations were i.a. Madlib, D'Angelo, Samiyam, Ras G, Jai Paul and Overmono.
I'm extremely happy I could create some of the songs with such talented people as Moo Latte, Kasia Siepka from Byty, Paulina Przybysz, Immortal Onion, Baasch and Wuja HZG. Everyone's unique personality enriched the sound and compositions on the album.

The cover was designed by Beata Śliwińska "Barrakuz" and it's based on the summer photo taken by Kuba Olachowski. It's worth mentioning that it was created using analog collage technique.

And where did the title come from?
The songs on the album are for me the way to escape from the pandemic and explore new musical areas. I just wanted to forget about all the laws, quarantines and restrictions. Imagination turned out to be the perfect cure for this.

The Tenets of Forgetting is the long-awaited follow-up to MSYLMA’s lauded 2019 debut, Dhil-un Taht Shajarat Al-Zaqum. This time he’s joined by fellow musician and producer ISMAEL for seven tracks, built around a lush palette of synths and MSYLMA’s singular voice.

Written and produced in Cairo between 2015 and 2020, The Tenets of Forgetting is the first collaboration between MSYLMA and ISMAEL. Like his first record, The Tenets of Forgetting finds MSYLMA singing in classical Arabic, and the musicians have enlisted Nariman Youssef to provide translations of the lyrics. This gesture of openness runs parallel to the themes of the record; romance and vulnerability; growth and change; pathos and passion. Listeners who aren’t familiar with pre-Islamic poetry or classical Arabic will find the lyrics just as rich and beautiful as the vocal melodies imply, telling a story of love, loss, self-doubt, and grave introspection.

Musically, the album moves in broad, painterly sweeps of 808 kicks, rich synthesizer chords, and MYSLMA’s soaring, plaintive voice. The English translations reveal a second world of mathematically sound rhythmic structures and poetry in the lyrics. The music pushes and pulls in both tempo and timbre, swirling both around and underneath MSYLMA’s voice but never losing a sense of self-contained narrative.

The album is rounded out by Jesse Osborne-Lanthier and Omar El-Sadek’s immersive, esoteric art, and features additional production on track 7 by Osborne-Lanthier, Pierre Guerineau, and Asaël Robitaille.

Limited run of 300. Includes insert + DL code.

Released on Karl Kronfeld's Synoptik Records, it was the label's only release, thus becoming a rare, sought after, private pressing.
Weird, intriguing atmospheres and a plethora of synthesized sounds, sequencers, cold sounding keyboards and even mellotron parts make this a darker offering than Aphorisms Insane.
Venturing into stark, spooky post-industrial territories it manages to combine the primitive cosmicism of early Tangerine Dream with the dystopic sound-scapes of Asmus Tietchens, 80's Conrad Schnitzler or the synthetic gothicisms of Peter Frohmader.
An album that should appeal not only to fans of cosmic synthetic music, but also those interested in the more experimental strains of cold wave & minimal synth (Robert Rental, Dome, a.o.)

The Wah Wah edition is the first ever reissue of this rare sought after collector's item.
100% analogue lacquer cut direct from the original master tape by Moritz illner @ Duophonic Gmbh and reproducing the original Dalí-esque sleeve artwork in a strictly limited edition of 500 copies only.

Templeight is Temple’s eighth release,
The first in our seventh year.
It features eight tracks
from artists spanning
two continents.

These are bent songs
of glimmering confusion
that rejoice in dissolution;
songs to truncate the space
Between us all.

We love them,
and you might too.

::))

Artwork by Jonathan Castro & Alejos and Robuche.
Mastering by Marco Pellegrino at Analogcut Mastering.
Ex-Terrestrial - Inlet and M & Dust - A Day in June mixed by Priori.
Phones in the Sun - First Look mixed by Lukas Glickman.

If you’re going to listen to one Damata album this year, why not listen to the only one? ‘What’s Damata’ is the debut album of this Guitar Trio, and is a compilation of compositions and excerpts from improvisations recorded in January 2019. The albums attitude, while handled with a lot of caution, suggests that everything is allowed in this music, which points towards the prudence of Brian Eno and Maria Kannegaard, the freedom of Supersilent and the harmonies of Aphex Twin and Olivier Messiaen. A lot of the music has a cinematic character to it, and may at times sound like a homage to Ambient Music, Drum’n’Bass and Scandinavian Jazz and Jazz-Rock, all while preserving the organic sound from the guitar trio format and the playfulness found in improvised music. This playfulness has also planted its seeds in the mixing process; a tune might suddenly accelerate or the drums might be replaced with drum machines. The titles on the album is no exception, which one can read from titles like ‘Oslo, 32. August’, ‘Her Piece’ and ‘I Say Damata, You Say Matoma’. Further, the order of the tunes is different from each format, meaning that the vinyl track order is different than the track order on streaming services. ‘What’s Damata’ is available on vinyl, CD and streaming services through the Oslo label Dugnad Rec.

The Swedish duo's mini-album touches upon a variety of moods, tones, beats and grooves that eschew genre and definition - seamlessly blending acid disco, thumping techno, rock, dub, acoustic
instrumentation and more."The album is deeply rooted in a feeling of
liminality," say Mount Liberation Unlimited duo Tom and Niklas
"It's music stuck in the liminal space between beach parties and worldwide isolation. A feeling of having your physical body in one place, with your mind still left on dancefloors on the other side of the now inaccessible world."A sense of duality has always been key to the Swedes' work. Since their first release in 2014,
with work released on labels such as Tim Sweeney's Beats in Space, and fellow Stockholmers Studio Barnhus, they have married a very physical rhythmic presence with their distinct take on electronic music that has also touched upon soul, jazz and disco. This exploration of organic dance music is, the pair say, "that
sweet-spot interaction of human rhythm and electronic pulse."
Welcome to the Jungle is no different in its quest to marry a deeply rhythmic essence with hypnotic and pulsating electronics, although it explores more beatheavy terrain this time around. The opening "Heavy Metal Emoji" sets the tone for an album that is rich in texture, where acoustic instruments brush up against
propulsive beats, atmospheric ambience and grooves that swing from dancefloor ready to immersive headphone escapes. "It's dancefloor music for a world without dancefloors," say the pair of its creation at the peak of lockdown.

Made in just a few weeks, it's the pair's quickest album to date. Recorded during a period when they had nothing else to do, the duo threw themselves into the studio and disappeared inside a record that they describe as like "a lingering psychedelic
dream of waking up alone in a mossy Swedish forest wondering where the warm breeze went." Which is a theme further explored in the album's artwork created by Swedish woodwork designer and artist Fredrik Paulsen.

It's an album that was made purely and truly in the moment, one guided by intuition without overthinking. "You shouldn't always know where you're going, but rather let the process be the goal. Embrace naivety.."

“Both Nikki Nair & Nala have had breakout years on Dirtybird. Now they come together on the next installment of our experimental White Label series with "The World is Always Ending.” Nikki’s futuristic productions alongside Nala’s dynamic vocal range highlight these two songs on opposite ends of the spectrum. The frenetic, breakbeat and filtered vocal of “Escape”, is a combo of nasty electro and hardcore jungle distortion. The title track is a modernized twist on Sneaker Pimps and Chemical Brothers vibes resulting in one of the coolest singles on the label this year.”

Effervescent Space Farm Fertilizer

Written over 3 months during Autumn 2020.
For Maisie.

Trust is a testament to resilience. The past two years have been tough for just about everyone, and while it would have been easy for Catnapp to let feelings of despair soak into her creative process, she refused to succumb to darkness. The Berlin-based Argentinian was determined to make something bright, energetic and uplifting, and nothing—not even a global catastrophe—was going to stop her from rallying people to the dancefloor.

Her new LP is loaded with futuristic pop hooks, yet Trust offers so much more than a simple sugar rush. This a record that defiantly smashes through genre boundaries, hoovering up high-octane bits of hip-hop, R&B, rave and even numetal along the way. Catnapp—an accomplished shapeshifter who’s never been afraid to get weird—is just as comfortable throwing down brash rhymes as she is singing dreamy ballads or unleashing a primal scream, and on Trust, all of those things (and more) frequently happen within the confines of a single song. Call it hyperpop if you must, but pop concentrate might be a more accurate term.

A classic releases from back in 1994 that recently got a repress via Vinyl Fanatiks in 2019. This time, these two lords of the jungle get put onto 7” wax for the first time for all collectors of 45’s.

DJ Vern and DJ Ash were big DJ’s on the London pirate radio scene in the early to mid 90’s. Vern was repping Rush FM and Ash on Kool FM, both broadcasting out of the infamous Nightingale Estate in East London. This is the authentic sound of Jungle, raw and unkut.

The 7” edits were done by Ellis Dee.

Released in a black sleeve with the jukebox centre, these are limited to 250 copies, so don’t sleep on this release.

Originally from France and now based in Berlin Isolated Material has dropped a steady run of heavy hitting releases on labels including; Brokntoys, Haws, Ukonx, 909 Connection and Mind Controlled Rectifier before joining us for his debut EP on 20/20 Vision.

'Hidden Node' kicks off the wax with a jarring excursion of futuristic breaks and abrasive sound design firing on all cylinders with complex drum patterns, bleeps and glitches. 'Asynchronous Funk' sees Isolated Material serve up an abstract slice of electro funk with a solid broken beat groove peppered with unexpected moments of off-kilter magic.

On the flip side - title track 'Hidden Node' offers up a dose of Drexciyan inspired funk primed for a set on the dark side of the moon with; high octane breaks, quick fire drum programming, intricate synth patterns and ominous undertones. Wrapping up the EP 'Unmarked Sequence' is an equally potent chaser for the wide eyed deep space traveller in need of body jerking breaks.

Roberto Auser delivering the very first album on Leipzigs Lunatic Records, consisting of 8 uncut gems. This record is a cybernetic machine, reaching down to your core to touch your fears. Dystopian synth-melodies, sharp bass lines and resonant snare hits creating the perfect environment for frankensteinian vocal lines that come cracking through the circuits. Auser gives a versatile selection of his work, spanning from tracks like „Fortress“, a four-to-the-floor bulldozer, to slow-electro smashers like „Insecticide“ which sounds like pure bio-sonic weaponry. Edition of 200 copies, comes in handcrafted screenprint cover.

Always hot on the steel-hard plates and murky subterranean atmospheres, Public System turns in a haunted double package from the crypt. Spanning hi-octane indus bullets, half-baked mutant salvos and shadow-clad juicers from a host of reputed names and rabid underdogs, this new comp collates ruff’n’tuff joints from gritty techno don Container, genre-unbound explorer E-Saggila, Berlin’s electro arsonist Privacy, acid-spitting hydra DJ Loser x Penelopes Fiance, basement guerillero Yabboq Penuel alias Le Syndicat Electronique, neo-punk beat thrasher Crave, Yves Tumor collaborator and sine-wave crusher Anthem, expert circuit dissector Beau Wanzer, Liquid G as remixed by Mick Wills, Night Gaunt’s Lower Tar, occult machine funk preacher Maenad Veyl, DJ Chupacabras under new guise 110, soundwaves cross-pollinator DJ Richard, vibrant mood-scapist Gavil�n Rayna Russom, as well as label boss Myn going ubiquitous with studio fellows Kluentah as Myntha, and R Gamble as Fade Accompli. A much desirable feast of raw, unhinged, all-round spine-tingling jams for the club and not.

Jon Dobyns and Lonn Bologna make up Alone in the Woods. Their instrumental debut features downtempo beats, ambient production and takes cues from orchestral music as well as hip hop. Alone in the Woods capture a unique sound that only a multitude of influences blended can produce. Warm 80's synth tones are melded with modern day techniques and experimentation that Depeche Mode and Bjork would be proud of.

Instant classics like 'Digging Holes' and 'Ripples' push the listener into the stratosphere and then you are pulled back by the intimacy of tracks such as 'woods funeral' and 'New roots, old growth' which will fully absorb you into the woods...

Asqus (AKA Aragorn23) is a South African based musician working with algorithmic and gestural composition techniques. For his release on Bladud Flies! - Euclidean Haecceities, the 7th entry into the Abhorrent Jukebox 7" series, two piano pieces are processed using the Bjorklund / Euclidean sorting algorithm. With each execution of the code there are subtle changes to the rhythm, scale and pitch, creating endless possible variations.

Am.11 and Cm.13 follow similar patterns, where dramatically frantic peaks emerge and fall back into a delicate and pensive state. Music for the unsettled.

Each 7" lathe cut is a different variation of Am.11 and Cm.13. No two copies are the same. We believe that this is the first time a generative music piece has been committed to vinyl. Edition of 60 hand-numbered copies.

The 7" has an engraved centre label on side A and comes housed in a beautiful screen-printed sleeve, with each sleeve having a slightly different colour gradient.

Mastered by: Michael Lawrence / The Bricoleur

Artwork: Lauren Winton

28th September 2015. The night of the super blood moon.

Imagining that he would be watching with a number of like-minded moon gazers, Atki2 left the house and instead found himself alone, observing this extraordinary celestial event. Just Atki2 and the moon, bloody, huge and pulsing. This is where the story of ​Requiem​ begins.​

Around the time of this spectacular lunar phenomenon, another cataclysmic event was unfolding, Atki2’s mother had been diagnosed with terminal cancer.

Two years after she died, he began to write something in memory of his mother. Searching for a beginning, Atki2 remembered his special audience with the super blood moon, and its place in the story. In the end, it became the sixth movement of ​Requiem​.

Requiem​ is a single piece, divided into movements. With traditions of the requiem mass in mind, and sections that correspond to the liturgical texts; a classic form provides a useful starting point for writing about something as messy as bereavement; a set of rules, which can be followed or broken.

The latest in a series of singles featuring regular Ghost Box artists, special guests and one off projects. This time it's a collaboration between the label founder Jim Jupp's band, Belbury Poly and Ian Hodgson's marvellous Moon Wiring Club.

The artists have very different approaches to their work, but share similar reference points and a common sensibility. Their ideas complement each other perfectly in these two weirdly baroque, electronic miniatures.

Moon Wiring Club is the recording alias for Ian Hodgson. Hodgson is also a graphic artist and has built a huge, bewilderingly detailed other-world of art and fiction around his twelve album releases. Sparse, beat led soundscapes haunted by fragmented voices, Hodgson's music is deeply creepy, yet flavoured with a subtle sense of humour.

Jim Jupp, co-founder of the Ghost Box label, records as Belbury Poly. His melodic electronica references 70s library music & TV soundtracks. Like Moon Wiring Club, it's music that's simultaneously light and eerie.

* Blessed Initiative is a project by Yair Elazar Glotman, which suggests a dissonant, coexistent state of extreme highs and lows. The album attempts to articulate a mental state of simultaneity, in which equilibrium is fleeting, fragile, and its scarcity is embraced. Opposite states coincide, contrast and reflect, creating moments of uncertainty and insecurity. Absurdity and at times even bliss are possible results, in the attempt to channel anxiety into creative forces rather than debilitating ones. In an environment where personas are the sums of the images they project, sounds are also no longer evidence of invention but of ever-changing combination, curation, and editing. The final persona is a sum of the chosen and the deleted, as well as what may be projected from outside, creating a confusing and conflicted self. The sounds collected here are attempts to compose on these uncertain grounds, and to reflect the anxiety released in all these sources' meeting and interaction. As a singular project, Blessed Initiative stops to comment on the conditions that inform Glotman's composition before and after it, and to acknowledge it as a non-linear, ongoing process.

* The focus on process and uncertainty is apparent in the album's phrasing, re-articulation and cycles of repetition and deviation. The pieces were composed from sounds generated on the KYMA system, personal foley recordings as well as tape manipulations techniques. Minor sounds on major scales and micro-tonal tuning suggest an ambiguous harmonic sphere. These were then integrated within idiosyncratic rhythmic structures, at times integrating real spaces and resonating bodies as reverb and augmented echo chambers. Concrete, almost-recognizable organic sounds contrast with these abstract spaces and connect them to tactile experiences. These textures and structures are a palette that reforms and deforms as it cycles throughout the album.

* The photographic series "Relax (blue)", 2004, by the artist Josephine Pryde was chosen for the album's cover as a materialization of tension. The two images represent a closed cycle of energy and unfulfilled release.

* Yair Elazar Glotman is a classically trained musician and sound artist based in Berlin whose previous works on Subtext include the LP 'Études' and a collaboration with James Ginzburg titled Nimbes.

London Based Multi-disciplinary Artist And Producer Buffalo Tide Presents His Latest Project 'pure Luxury' A Twisted, Bass-heavy Slow Jam Of Hallucinogenic Cuts That Melt It's Listeners Minds.

In Recent Years Buffalo Tide Has Garnered Spectacular Project Work And Press, Producing Music For Kenzo, Hunter And For Recently Closed Iconic Paris Store, Colette. He Has Released Music On Cult London Label No Pain In Pop, Presented A Mix For Dazed Digital And Had A Feature In The Nme.

Buffalo Tide Has Also Presented His Visual Art In Various Group And Solo Shows, Most Recently His Sound-installation Know Your Beholder At Sutton House In October 2016.

Built Over The Course Of The Last Year, Pure Luxury Features Surreal Vocal Samples, Juddering Sub-bass Lines, Jarring String Arrangements, Synthesiser Sweeps That Haul You Out Of Your Body And More Grime Than You Might Come To Expect From An Artist Like This...

Black printed sleeve repress! Limited to 100 copies.

'Bottle Rain Smoke' premiered on The Creators Project/Vice (video below)

Much of Crewdson's singular sound can be attributed to his musical (instrument) inventions. Via these vehicles, Crewdson crafts skewed sonics that boggle the mind.' XLR8R

'Toys' is the follow up to producer/instrument builder Crewdson's debut album 'Gravity' on Slowfoot Records in 2011 and is a stunning album which is at once archaic and futuristic, folk and tech, accessible and experimental, danceable and introspective, naïve and sophisticated, heart-felt and humorous.

'Gravity' drew huge acclaim from the likes of Gilles Peterson, Clash, XLR8R, Time Out, BBC, Future Sequence and The Fader to name but a few.

The album is a highly skilled and inventive production that draws on a myriad of post-rave styles - garage, dubstep, techno, broken beats - and comparisons can be made to the electronic explorations of the likes of Flying Lotus, Polar Bear, Fourtet, plus contemporaries Mount Kimbie, Micachu and Jon Hopkins' work with King Creosote.

The weird and wonderful hardware electronic musical instruments invented include the The Odd Box, The Concertronica, The Eggiophone and The Sonic Bonnet and the album owes much to these instruments, which have increasingly become central to his production methods and sound, as well as the album's title and imagery. They also provide a clue as to his music's direction. Where the music on 'Gravity' blended jazz inflected harmony and concrete soul with his trademark skewed electronics and tumbling beats, 'Toys' is more informed by the harmonic, lyrical and sonic ideas found in folk music and his instruments perfectly reflect this meeting of folk and technology, the archaic and the futuristic.

In between his debut and this album Crewdson found time to release records as one half of electronic soul duo Eckoclick, be Matthew Herbert's right hand man both on and off stage as well as running his Accidental Records, write music for prominent designer Paul Smith, collaborate with London's National Centre for Circus Arts on a bespoke performance, work with fashion designer Jodie Cartman to create a range of playable musical headpieces, go on tour as tech support to Thom Yorke AND contribute sounds to the rescoring of the first ever British sci fi movie 'A Message From Mars' as a part of The New Radiophonic Workshop in collaboration with the BBC and the BFI.

CLASH: Fragmented post-dubstep with jazz leanings, the producer's work was imbued with a wonderfully engrossing sense of space'

Debut Solo Album From John Carpenter Musical Collaborator On Very Limited Vinyl.

Daniel Davies Has Announced The Impending Release Of Events Score, An Eight-song Collection Of Otherworldly Instrumentals That Expands On The Musician's Distinct Talent For Wringing Modernistic Soundscapes From Vintage Synths. Perhaps Best Known For His Role As A Collaborator And Co-writer On Horror Auteur John Carpenter's Recent Lost Themes And Anthology Albums (as Well As A Pillar Of His Live Band's Subsequent Tours), Events Score Marks Davies' First Proper Solo Album. To Accompany The Announcement, Davies Has Shared 'shadows Alive,' A Melancholy Theme Built On A Glassy Synth Melody Arpeggio, Bolstered By A Creeping, Expansive Low End.

The Album Began As A Brainstorming Session For A Movie. 'i Was Talking With A Friend About Writing A Sci-fi Film, But I'm Not A Screenwriter So I Wrote An Album,' States Davies. 'i Could Imagine Huge Spaceships Cracking The Sky, Giant Sand-snakes Barreling Through The Desert, Or Someone Drifting Across The Bottom Of The Ocean With Just Barely Enough Light To See The Creatures Beneath. It's The Score To All That...'.

'Travelling Bright is a quietly exceptional album, dreamy and intimate, but borne up on rich elaborate arrangements... David writes Deeply introspective songs and renders them in rich orchestrated widescreen...Dreamlike soliloquies, steeped in mythology and the natural landscape, and presented with an airy spaciousness that carves out avenues for the mind to wander' - UNCUT MAGAZINE

'Travelling Bright' is the very pretty new album from David Ian Roberts, released on Welsh label Cambrian Records. The album feels like a real artistic statement, a double LP, full of ambition from the Cardiff based songwriter. David's lyrical imagery find parallels between our emotional landscapes and the natural world.

Written, performed, mixed and mastered by Richard Pike (PVT).
Standard cassette tape with full colour double sided J-card, imprinted shell, and the choice of 1 of 3 shell colours, rave orange, freight train grey, magnetic tape brown.

Snowed in at an abandoned guesthouse located in the Swiss Alps, long-time friends and musical collaborators, James Varghese and Ramon Ziegler unintentionally became ambient electronic duo Diskret and release the spoils of their reclusive recording getaway on Fri 22 March 2019.

Equipped with synthesizers, drum machines and other wired gadgets, Varghese and Ziegler wandered into the peaks around their native Zurich, unaware of what could emerge from a long weekend of unhurried creativity. The descent of the unexpectedly heavy snowfall broadsided plans to intersperse music making with fresh air and rural hikes, instead being forced to evoke their alpine isolation and the vivid beauty of the whiteout through delicately layered electronica.

After the process they describe now as 'incomprehensible', the EP is the only reliable document of a shared dream, created as if in a trance. Four days of recording synthesizers, arranging chords, eating raclette, stacking sounds, automating filters, fondue, creating beats and occasionally sleeping, comes to this. An EP they had no concrete intention of making.

The Paris based producer and DJ NxxxxxS’s delivers a new 13 track album offering a fresh and summery vibe. Shaped by his wavy trademark sound, which mixes techniques from genres such as, vaporwave, phonk, trap, hiphop, R&B and future beats