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Minimal Wave presents a full length album by Dutch electro pioneer, Das Ding. Das Ding is Danny Bosten, who was active in the early 1980s releasing his music and friends’ music via his own cassette label called Tear Apart Tapes. While studying graphic design in art school, he designed all the tape covers himself. Meanwhile, he re­corded his own music as Das Ding. Powerful dark electro, some tracks are quite addictive and danceable while others are more for at home listening enjoyment. The dancefloor killer is somewhere between Reassurance Ritual and H.S.T.A. The record is pressed on 180 gram vinyl and comes in a printed innersleeve featuring artwork by Danny Bosten, and heavyweight outer jacket with photographs by Dima Belush. Definitely one of this year’s favorites

The meditative New Age album Sojourn reshaped including unearthed tracks from the archives produced in that time frame now for a long time overdue worldwide release ! Young, the percussionist and marimba player in the seminal New York art-wave group, recorded a series of cassette-only releases in the '80s after Liquid Liquid disbanded. A couple of these were picked up at the time for Korean release, which is where Daehan Electronics, a South Korea-based label dedicated to tracing the history of electronic music in the land of the morning calm, comes in. Sojourn was one of these albums, part of a biorithmically-aligned New Age serie, each one meant to be heard on specific days of the week. DE has worked with Young to restore and remaster the original masters for this new release, bringing out the full warmth of the analog synthesizers used to create it. It is the second in a series of collaborations with Young, which will delve deeply into both the scarce cassette issues and other, unreleased material newly discovered on tapes. Liner notes outline the history of the record and include Young's own pathway

Initially a duo formed in Berlin, FITH have since multiplied and expanded to become a revolving collective of musicians and poets spread out across a Paris/Manchester/Berlin axis. The project, currently comprised of members Dice Miller, Enir Da, Rachel Margetts, ChrIs Lmx, & Arnaud Mathé gesture towards notions of the literary salon, expanded cinema happenings, and the ancient traditions of Greek oratory and religious sermons. Driven by the spell of the spoken word, minimal percussive refrains, oneiric textures & deep melodic synths, FITH channel cinematic imagery, enigmatic narratives & spiritual frenzy.

Their self-titled debut 12' album was released via their collectively run imprint Wanda Portal in November 2016, a 'quietly alluring debut of post punk tempered avant-pop songs' (Boomkat) that laid out the project's foreboding mystique and intoxicating dream sequences with a lurking, devastating sense of purpose and (mis)direction. Other outings have included myriad solo collections of poetry, a two-track release of lurid dissonance and elegiac elevation (Signs / Cornerstone, December 2016) and an extraordinary reinterpretation of the soundtrack for cult film & iconic document of modern alienation Wanda (1971, dir. By Barbara Loden)

With Swamp, their sequel to this activity and their first appearance on Outer Reaches, FITH become a refined force, on a record where all their compelling pluralities and attributes are honed and augmented; everything dilated to delirium. The atmosphere here is one of veiled dread and psychic disturbance, a haunting and macabre psychedelia strewn with echo and dub FX, fragmentary fever dream poetics, elemental drum patterns and volatile synthetic interference. Although the collective conserve the raw crux of their earlier material their execution is, in this special instance, heightened by an intent to broaden and prolong their unique strain of intensity.

Emphatically sinister openers like Forest and Pound present sidereal sequences before building to barrelling, corrosively processed percussion, paroxysmal free jazz and a baleful, concrète-inflected score of electronics, while Swamp introduces phasing currents and a vocal evocative of a chorale from some forgotten giallo film. Elsewhere l'au delà (the beyond) presents a stunning, sombre passage to another state entirely, like some desolate new inflection on Coil's Going Up, before Bialystok shifts into a finale of transportive and meditative evaporation. Together these tracks make for an incredibly immersive and congruous conception; an utterly complete and mesmerising document.

In Swamp's various dimensions perhaps there's comparisons to be drawn with the ritualistic krautrock of Conny Plank and Holger Czukay's Les Vampyrettes, with the hallucinatory, tribal rhythm cycles of Shackleton & Anika's Behind The Glass collaboration, with the primeval drone of Jeremie Sauvage, Mathieu Tilly and Yann Gourdon's France project, with the echoic, disquieting chamber intimacies of Tuxedomoon's Pink Narcissus material and with Lucrecia Dalt's eerie free verse abstractions. But really, we've not heard anything like this before.

Discussing their own inspirations and touchstones the collective cites Franz Kafka, Dario Argento, Lucrecia Martel's La Ciénaga (The Swamp - the film the record is named after) and Yiddish ghost theatre as figures, works and artforms that were prominently drawn upon during the making of Swamp. Yet whilst their imprints could be traced by some, they resemble more of a covert presence within a nuanced whole rather than obvious aspects which moor this record to any familiar setting.

Instead, the acutely unsettling yet poignant spoken word of Miller and the mercurial nocturnes and visitations produced by Margetts, Lmx, Mathé and Da make for a record of strange, novel and striking energies. In revealing the remarkable location and period in which Swamp was recorded Margetts and Miller give a vivid indication as to how these energies are so potently invoked:

'The record was mostly recorded in a caretaker's wing of a 17th century castle in Normandy. It was early March 2018, and our first encounter with the Spring. We had no idea how everything would unfold. There was a lot of tension. Some of us felt compelled to get out the attic room where we had set up our makeshift recording studio and just walk and walk down the vast flat meadows and explore the relics of the wartime barracks, others wanted to keep recording. The outside was serene and inviting, and even though we had been cooped up indoors recording for long stretches of time, we could see from the corner of our eyes, the branches of the trees quivering; an impersonal energy blew through us and then things just happened.'

Repress available in early May.

Faitiche releases a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

"Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ..."

Jan Jelinek, Berlin 2018

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1
Breach One
9' 36''
2
Interlude One
3' 26''
3
Breach Two
7' 05''
4
Breach Three
9' 32''
5
Interlude Two
2' 29''
6
Breach Four
7' 34''
Breach dives into chaotic systems and reflects on the recent events of protests and riots in the world, exploring the build up and release of tension and energy in a new form of pitch black metal electronics and polyrhythmic structures.

Zeno van den Broek is a Dutch-born, Copenhagen-based composer and artist. Van den Broek works in a multi-sensory way to research and express physical, social and acoustic notions. He utilises audiovisual means to create site and concept specific works. This trans-disciplinary method has a strong conceptual foundation, originating from a background in architecture, which enables Zeno to comprehend and reveal the richness and complexity of spatial, visceral and physical perception. He works with a characteristic artistic language based on minimalist and fundamental elements such as sine waves, lines, noise and grids.

New four-tracker EP by DJ Spider, featuring a remix from Rick Wade on the A side, and an additional remix from Murdoc on the B side. Trouble13, titled The Most Hated Avatar, is availble on 12” vinyl format, out of continued respect for the vinyl medium

Following 3 maxis on Hilltop Imprint and the label Construct Re-Form, the producer Fareed – formerly of the Society of Silence duo (Versatile, Concrete Music) – returns on the new label, MAZE, dedicated to experimental breaks and cinematic soundscapes.
This first EP, with irregular rhythms and metallic sounds, loses us in the meanders of a jungle and transports us into a world borrowed from mysticism.

Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: A comprehensive collection of descriptive contemporary scores. We say: Just look at the track titles of The Road Forward and swoon: Strangelands, A Man Alone, Sheer Elegance, Mystique Voyage, Cruising. Don’t you just want to hear those? The maestro Alan Hawkshaw really spoils us on this, one of the most sought after KPM greensleeves. This collection from 1977 is a brilliantly varied blend of silky smooth synths, funk-fuelled clavichord grooves and soft focus space beats. Essential. As with all of our KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

Rain&Shine proudly present Steve Elliott's first album -True Image (1981). After failing to find musicians with the same direction and devotion to music he had acquired, Steve taught himself to play eleven different instruments and move from hometown of Pasadena, California to Denver Colorado.

Eager to express his musical ability, Steve became a DJ on KDKO radio, and would then go on to compose, arrange and perform True Image on September 20th 1981 with a collection of drum machines, synthesizers, and contributing musicians on rhodes, flute, guitar and vocals.

Mr. Elliott's philosophy is 'You hold in your hand a dream, a dream come true by a man whose only objective was to express the love he contains, the love we all contain within through music.'

On many collectors want lists, passing for a median price of $450 online.

Electronic Body Music, abbreviated as EBM, is a term whose origin stems from the Belgian group Front 242, chosen to describe their electronic music; cold and dancing, free of the dominant influences of the time. Powerful, cold and minimalist electronic rhythms were the hallmarks of this new genre.

The movement quickly garnered followers with the British group Nitzer Ebb but also in the rest of Europe, with the likes of Borghesia and The Neon Judgment, later signed to labels like PIAS, Antler- Subway, Wax Trax!, Mute, Off Beat, Zoth Ommog, Pendragon and Metropolis.

EBM’s popularity grew rapidly in the underground scene during the 1980s and early 1990s, especially in Europe, before breaking through in the rest of the world, also influencing the subsequent electro-industrial scene.
‘Dancing In Darkness: EBM, Black Synth & Dark Beats From The 80s’ - to give it its full title - is a compilation of some of these bands; bands that changed contemporary music in terms of ideology, politics and aesthetics.

CD version in digipack with poster booklet. 2LP version in gatefold sleeve.

Minimalist, dark and heavy-techno from the L.I.E.S. Jealous God, Semantica affiliate and techno butcher Domenico Crisci. designed to decimate. The four tracks phase into and out of structure, utilising simple means to devastating effect and offering almost no rest as they rush forward, hungry for blood.

On their debut album as DOVS, Tin Man and AAAA summon the ethereal spirit of acid. Tin Man, AKA Johannes Auvinen, has been studying the emotional potential of the Roland TB-303 for 15 years now, and AAAA (Gabo Barranco), a fixture of the Mexico City underground, might as well be his acolyte. While the coincidental similarities of their studio and live approaches make this collaboration feel natural, even expected, Silent Cities is anything but. We recognize most of the elements here—the ubiquitous acid box and hardware drum machines—yet Auvinen and Barranco arrive in new, mysterious territory this time out. Lush arpeggiation, breakbeats and atmosphere imbue tracks like 'Nostalgic Oblivion' with a widescreen grandeur. 'Rene Figures' recalls Specific Momentific-era Cristian Vogel, symphonic, melodic techno with a kick heavy enough for dark, cavernous rooms. Meanwhile, beatless cuts like 'Whining Acid' are as intricately crafted as Tin Man's well-loved classical work (Vienna Blues). But as a duo, they craft a virtuosic harmonic narrative almost solely with 303s. Tin Man and Donato Dozzy's 'Nonneo' was the first release on Acid Test, setting the tone for the label and unlocking new potential for the genre. DOVS' closer on Silent Cities, 'Diazepam Blues', is the label's new melancholic acid anthem and a statement of purpose for Tin Man and AAAA, two hardware masters who have created an album of remarkable emotional depth.










[J}] D2 - Dysphoric Fix

Is another EP from D.K. about to land on Antinote while the first one has been announced only a month ago
Well, this looks very much like a series and - spoiler alert - Riding For A Fall EP is the second installment in a
trilogy.

With a BPM crossing the 120 line on 2 out of 3 tracks, there's little doubt that this second 12' is also meant to be
played in a club environment. The 9:37 min long Voices sprawls over the whole A-side. Like many productions
stamped 'D.K.', the structure is linear only in appearance: it winds up and down between fantasized exotic
landscapes, digital plug-ins mimicking 'far east' instruments that are barely recognizable. It gets even snakier with
the Samurai Showdown-inspired Shoubuari (Battle): pixel swords brushing past our ears, martial drumming and
menacing synths (D.K., were you the kind of kid who owned a Neo Geo) - it's pretty obvious that we're in the
world of SNK's legendary fighting game.
Things calm down with Riding For A Fall: less button-mashing, more concentration as we're witnessing the sacred
martial art known as Street Fighter's quarter circles... But enough with these video game metaphors! No need to
be a pro-gamer to enjoy this piece of music. It's sad & slow house music with a cinematographic quality - and,
perhaps, the most moving moment in this series of 12'.
To be continued...

ZamZam 70 is our first team-up with the man of mystery known as Marcus Anbessa. An enigmatic figure whose identity must remain secret for the time being, his infrequent releases on labels such as Lion Charge, Tribe 12, and The Most High (as “Unknown Artist”) are eagerly awaited by those who know, charting an uncompromising vision down a path untrod by the weakheart or the follow-fashion. We love music that builds its own sound world with only passing reference to familiar genres or signposts, music that believes in itself utterly - for this reason we feel genuinely blessed to present these two sides.

“March of The Falasha” is pure roots music that, firmly planted in the soil of dub and sound system, reaches back even further into the mists of time through technological means. Downbeat steppers is the idiom, pure heartbeat is the pulse. Like an old soul young in years but full of wisdom, a distorted flute melody wanders ahead through the undergrowth of bass, light filtering through the ancient canopy above in the form of swung percussion and flickering echoes overlapping and intertwining like vines and creepers weaving on temple walls. Ancient-to-the-future.

“Creator” strikes a different yet equally dread chord, 140-ish post-apocalyptic Rasta business focused squarely on bass and space, hard, insistent drums and infinite echo trails flinging from the snares and percussion, creating hypnotic tracers like sparks swirling heavenward from a well-tended fire in blackest night.

Imagine African Headcharge on Jah Tubbys, or a rootsman groundation resuscitating ancient machines in the crumbling ruins of a near-future world and you begin to see what Marcus Anbessa brings. This music reminds us that nature herself will some day claim Babylon and grind it to dust, regardless of our efforts to save it or hasten its fall.

DJ, producer, singer-songwriter, one-half of world-touring soul duo Myron & E (Stones Throw), founder of boogie outfit The Pendletons (Bastard Jazz), part of electro-funk duo Lucid Paradise, and an endless string of collabos. Over 2 decades in the game means multi-faceted artist Eric Boss knows his way around music. Having been there, done that, gotten the t-shirt and watched the fat lady sing, it's finally time for E to take center stage and deliver his finest effort yet with solo record "A Modern Love", an effervescent collection of raw funk, sweet soul, west coast vibes and classic hip hop, produced by Björn Wagner and Steffen Wagner (The Mighty Mocambos / Bacao Rhythm & Steel Band).

"A Modern Love" has all the ingredients of a future classic. High-profile guests Check: with Gift Of Gab (Blackalicious) rapping on "I Wanna Ride", a track with more bounce than a lowrider chevy on Santa Monica boulevard, and soul siren Gizelle Smith featuring on "Spiders", a spooky number that will get you jumping out of your seat like you've been attacked by giant 8-legged arachnids. Need some dancefloor action "Get Next To You" gets down to serious bizniz with crisp drums and a catchy hook guaranteed to get the party started. Something for lovers We've got it covered with "Is It Love", where Eric waxes lyrical about his sweetheart over a honey-drenched soul beat.

From reggae-flavored vibes being served in inspirational number "Your Life Is Up to You" to the slow-burning grooves of "Merry Jane" which features singer Ishtar, the 10 tunes on "A Modern Love" all attest to Eric Boss' talent and versatility. Judging by how quickly the limited edition 45 of album opener "Closer To The Spirit" sold out when it was released, it seems safe to say Eric Boss is a king Midas with the golden touch when it comes to providing fresh grooves for contemporary ears, and "A Modern Love" is set to prove so once again.

Charlemagne Palestine's majestic 1976 work The Golden Mean, originally performed by Palestine on two pianos, is revisited here as The Goldennn Meeenn + Sheeenn, a new collaboration between Palestine and enigmatic musician Rrose.

March 2018: the Festival Variations in Nantes commissions Charlemagne Palestine to reinvent The Golden Mean for two pianists. Palestine chose Rrose to join him in this new rendition of the work. Together, they performed The Goldennn Meeenn + Sheeenn onstage at the main opera house in Nantes -- the sumptuous Théâtre Graslin – with extraordinary results.

The concept of the 'golden mean' goes back to the roots of mathematics, and ancient Greek philosophy. It is an important work in the Palestine mythos, embodying his total immersion in the power of the interval. "It's probably his most systematic work . . . a step-by-step journey through the intervals of the octave," says Rrose. "When we rehearsed it, we were noticing how each interval is like a universe of its own -- with its own history, emotions, and sonic qualities all mixed up together. Every time you move from one interval to the next, it feels like moving into another world."

"I love the interval," Palestine told me in a recent interview. "I love when it plays with itself. That's what I learned from organ musics too. You can just do an interval, and if they're just slightly out of tune with each other, then they shimmer . . . they play themselves. And it sounds like somebody's playing lots of notes. In your ear, it's like an aural phenomenon . . . that's my whole concept. I make something that then does itself somehow. It continues by itself. So I don't have to always be there. And that makes my music a little less egocentric. So there's more space. Also for the listener — the ear plays with these things, and you're not always being given orders. Your ear isn't given orders all the time of what to listen for."

Beautifully recorded, with mastering by Rashad Becker of Dubplates and Mastering, The Golden Mean + Sheeenn feels expansive, radiant and hypnotic, opening new ears to its enduring mystery.

Rrose adds this note to listeners: "Do not focus your attention on the notes being played, but on the ocean of overtones swimming, suspended, overhead, brushing against one another, kissing one another, melting into one another."

Sometimes, - despite today's high-octane, fast-track and hyper-hysteric music business - you come across things that seem so pure, perfect and poetic that it almost hurts. "Socialo Blanco" is one of these objects.

It appears understated at a first listen, startling at the second and totally enamouring by the third run. To lay it all out on the table: it sounds like a Music from Memory re-issue, looks like a Growing Bins Records discovery and feels like a flea-market-hippie-uncle-record-collection find.

Based on the language (coincidences and misbehaviour included) and direction of the classic EMS Synthi AKS and recorded by hand and directly to tape (no midi, no sync, no computer), it is at once out of time and out of touch with current sound aesthetics, but that only makes it even more contemporary (vintage) - like a great piece of furniture.

Unsurprising, if you know that Feater is helmed by Daniel Meuzard. Hailing from Vienna and having made a name for himself as a trustworthy and skilled studio equipment dealer and working closely with producer and studio engineer Sam Irl, the man has a knack for turning yesterday into today.

Already is his project's second album, "Socialo Blanco" is the result of all of this and some magical and effortless sessions. The voice of Vilja Larjosto from Finland and Ghana's Eric Owusu (Pat Thomas, Ebo Taylor) on percussion, spontaneously invited to the recording sessions by fellow Viennese Giuseppe Leonardi, are the icing on the cake. All of that and especially the non-conformist pop song "Time Million" symbolizes the heart and soul of an album that deserves to be billed as such. And that is no mean feat.

Heist is first and foremost a label dedicated to quality house music with an eccentric angle. Promoting great music from the Netherlands comes as a close second. After presenting a lot of notable artists from our country, it’s great to showcase another young Dutch talent with our latest release: Perdu.
You might know him from his solo debut on Let’s Play House or the follow up on Optimo Music last year. Perdu’s music gets played by the big ones in the game like Hunee, Optimo and Palms Trax to name a few; and obviously, by us. We’re proud to introduce you to his “Skye EP”. His new release includes 3 varied originals and a rave anthem made by none other than our fun loving Ozzie friend DJ Boring.
The A side kicks off with “Jane’s World” and is the track that made us fall in love with this EP when we heard the demo. It’s a worldly tinged house monster, filled with harmonized drum rolls, a counting Frenchman and a funky arpeggio for good measure.
“Sacramento” takes a more introverted approach, leaning on a broken beat and atmospheric pads. The consistency of the kalimba with the vocal gives it a certain swing that got our ears longing for more.

The B-side starts with “Morbid”, a life-affirming electronic anthem, where Perdu shows his mastery of creating a proper build up. Over the whole course of the track, there’s a lead that slowly but surely opens its filter. There’s bells, harps, hand percussion and rides that all build up towards a lovely climax towards the end, while the track never feels like it’s forcing itself upon you.
Where the 3 originals are all, to some extent, quite introverted and modest, DJ Boring’s remix is anything but that. His version of “Jane’s World” is all about ravey leads, powerful percussion and huge breakdowns, which will do wonders at any festival or club closing set.
We hope to pleasantly surprise some of you, and as always, make a musical impact on your moment in the club, at home, or wherever it is you enjoy the music of our new Heist release.

Yours Sincerely,

Maarten & Lars.

Following on from the Bewildered 2018 Remix/Re-master E.P., respected 90’s D&B imprint Odysee Recordings presents its 2nd release in this series; a digital re-master and remix of No Tomorrow. Originally released in 1995 (ODY05), this track featured on the second E.P. under the ‘Mirage’ moniker; a collaboration between Jim Baker (Source Direct) and Odysee’s founder Tilla Kemal (T-Mirage).

The original is a timeless and well-loved classic from the golden era of the mid 90’s ‘Intelligent D&B movement’. It displays Jim’s celebrated skills as both a producer and an arranger to their full; building an emotive and haunting piece around two contrasting motifs. The trademark Source Direct breakbeat work is in play on this track as it switches between Clive Stubberfield and Lyn Collins; the curling drums providing the perfect framework for Tilla’s abstract sample selection to really breath and flow.

Andy Odysee’s modern remix retains all the original samples and references both the original break selection and the shape of the original arrangement. This modern D&B version then injects a turbo-charged energy into the piece with a huge undulating sub, aggressive techno-styled chord stabs and pounding kick & snare that thrust this track into the 21st century. The haunting sweetness of the piece is by no means lost, but the melodies are now presented over a framework designed with modern D&B dance floors firmly in mind.

Consisting Neither Of One Lone Woman, Nor Hailing From Either The Eurasian Country Or The North American State, This Georgia Is In Fact Comprised Of Two Human Males Working Out Of China Town, N.y.c., Namely Brian Close And Justin Tripp. Together They Form A Creative Partnership Responsible For Not Just A Slew Of Output Upon Such Highly Regarded Imprints As Meakusma, Palto Flats And Emotional Response, But Also For A Kaleidoscopic Variety Of Multimedia Work With A Whole Host Of Clients, From The Corporate To The Counter Cultural. With An All Embracing, Freeform And In Some Ways Contradictory Approach To Production, Their Sound Is At Turns Stimulating, Terrifying, Comforting And Confounding. Separated From Any Visual Representation, The Audio On Its Own Becomes A Soundtrack For The Listeners' Own Intense Internal Projection Screen.

With 'time', Georgia's Vision Is Especially Well Realised As Here, In Collaboration With Fellow Intuitionists Firecracker Recordings, They Release Into This World An Album Which, With Any Luck, Shall Help You Unlock Your Inner Portals - Should They Need Assistance In That Regard Anyway. Unquantisable Polyrhythms Knock Against One Another In An Uncannily Externalised, Conflicting Collage Of Half Remembered Dance Ritual Memories. Fragmented Melodies, Disembodied Vocal Snippets, A Hint Of Ethnomusicality In Places All Give Deep Nods Simultaneously To Ancient Experience And To Post Human Intelligence, Condensing Past Present And Future Into One Eternal Instant.

'time' The Album Asks Us: What Happens When One Removes Ones Expectations Of Where In Time A Piece Of Music Or Art Must Sit And What Of Time Itself As A Construct, Now That We Have Myriad Ways Of Measuring It, Even At The Atomic Level; But Still Its Passing Is Completely Relative According To The Observer, And Indeed May All Be In Our Minds Anyway Equally, You Can Always Just Put It On - Again, And Again - Empty Your Mind Of Such Thoughts Completely, And Allow All Of Your Particles To Move Around Freely To This Joyful Noise... After All, That's The Point, Isn't It We're Gonna Have To Stop Asking Questions Eventually.