Buscar:raíz

The second incarnation of the mythical band of the eighties mod revival, active since 2013 under the leadership of Chris Pope. The English band offers us 4 tracks full of power-pop, punk 77 rage and classic melodies. The Chords UK are back in action with a new EP that keeps the bar high when it comes to punk-influenced power pop. The title track of the EP was originally composed and worked on in 1985 for the Arista label, with the collaboration in production of Tony James (Generation X, Chelsea...). It finally remained unreleased and is now, at last, seeing the light of day once re-imagined, re-arranged and re-recorded in April 2023. It's a fearsome shock of rock'n'roll rhythm and sharp, angular guitars with more than a nod to late 70's The Clash, all wrapped up in infectious vocal harmonies and anthemic choruses. "Veronica Jones" is a new mix of the celebrated cut from the band's 2022 album "Big City Dreams". This track was born as a punchy modern folk song, as it tells the story of a girl who is clearly out to have a good time, but this version is elevated with a garage rock approach, ably assisted by the keyboard talents of Mick Talbot, formerly of The Style Council and Merton Parkas. "Before Elvis" has its origins in a 2014 demo that eventually remained unreleased and is a raging rock track with a Stones-style beat and amps pushed to the limit. The EP closes with "All I Want is Everything" a high-tempo rock'n'roll reworking of the song that previously appeared on their 2018 album "Nowhere Land", with the bass-driven beat rising several notches as the guitar screams and wails.

Repress of Hey Colossus' twelfth studio album from 2019 on a limited coloured edition to mark the bands 20th anniversary. This edition is on transparent lime w/ marbles smoke effect and limited to 200 copies. Genre: Alternative / Noise Rock Hey Colossus are one of Europe's great live bands. Since 2003 the 6-piece has been driving around the continent with their "pirate ship" backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor's waiting room in Salford, an industrial unit in Liege and a vast field next to a river in Portugal. Four Bibles is their twelfth studio album and the first to be released by London label Alter. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011's RRR for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialling down the effects and using reverb / delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics and violin (by Daniel O'Sullivan of This is not This Heat / Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this. From the weight of "Memory Gore", to the subtlety and swag of "It's a Low", via the sonic extremes of "Palm Hex/Arndale Chins" this is exactly as the band are live; raging & rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod...bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul - Hey Colossus have never sounded fresher or more on point.

Repress!

Multi-instrumentalist, composer, performer and curator L’Rain (Taja Cheek) returns with her third album I Killed Your Dog. Over-writing themes of grief and identity that informed her previous work, I Killed Your Dog considers what it means to hurt the people you love the most. Multi-layered in subject and form, L’Rain’s sonic explorations interrogate instead how multiplicities of emotion and experience intersect with identity. The experimental and the hyper-commercial; the expectation and the reality; the hope and the despair. “I’m envisioning a world of contradictions, as always,” Cheek explains. “Sensual, maybe even sexy, but terrifying, and strange.” Written amidst heartbreaks from the perspective of an earned maturity, I Killed Your Dog takes the sonic world laid out by L’Rain in 2021’s album Fatigue on a compelling new trajectory. Described by Cheek as an “anti-break-up” record, I Killed Your Dog takes the universal pop theme of love as its starting point – bold, bratty and even a touch diabolical – and inspects it through the form of a conversation with her younger self, untangling her relationship with femininity and the formal musical conventions that others have come to expect of her. Alongside long-time collaborators Andrew Lappin and Ben Chapoteau-Katz, Cheek has developed L’Rain into a shape-shifting entity that blurs the distinction between band and individual

Busta Rhymes bereitet sich auf die Veröffentlichung seines 11. Studioalbums vor, das erste seit "Extinction Level Event 2: The Wrath Of God", das 2020 erschien. Das Projekt trägt den witzigen Titel "BlockBusta". Er stellt sicher, dass das Album seinem Titel gerecht wird und einen echten Blockbuster abliefert. Dazu hat die Rap-Legende drei weitere Legenden als ausführende Produzenten für das Projekt gewonnen. Pharrell, Timbaland und Swizz Beatz, drei der legendärsten Produzenten der Rap-Geschichte, sind alle an Bord, um mit Busta zusammenzuarbeiten.

A1 - Healing Properties
Opening his Spatial account with Healing Properties, Eusabia immediately throws down the gauntlet showcasing an inimitable versatility with breakbeats, permeated with a jungle flex so rarely captured in the atmospheric D&B landscape. Pivoting effortlessly as the track progresses from drumloop to thunderous drumloop with a simmering haunted atmosphere and deep, weighty basslines to yearning filtered vocal samples, this track has it all.

A2 - The Space Between
Smooth jungly synthwork seizes the foreground before crisp breaks begin to reveal our direction through The Space Between, jittery key stabs and familiar old school FX create a unique sci-fi style backdrop as the breaks drive the vibe forward, switching and weaving in style, constantly mixing it up to ram the point home that you cannot fully appreciate a Eusabia track until every second has been consumed - many times over, as The Space Between demands.

AA1 - Scope of Understanding
A more contemplative piece, Scope of Understanding strips things back with a synthwave-esque vibe tinged with intrigue and allure. Soon the breakbeats leap into gear and develop with an incredible level of refined detail, expertly edited, chopped and cut to a darkly undertone of sub bass and subtle micro melodies. Scope of Understanding will leave you in awe of the quickfire ideas Eusabia can conjure in the space of 6 minutes.

AA2 - Self Reflection
A smooth atmospheric introduction ushers in a thumping drum tools workout, somehow perfectly in sync with the calm harmonies dancing around in the composition. Certainly a track to enjoy both on the discerning dancefloor and while driving home with rain lashing at the windscreen at 2am, Self Reflection's synths and breaks conclude the EP in style leaving a long lasting memory of a Spatial debut you will not forget.

Words by Chris Hayes.

Music On Hold's second album raises to its climax an altogether well-cultivated ambiguity between new ambitions and the waiting posture of a band which has never lived up to its name so well. Produced in a cellar in the 7th arrondissement of Paris, supported by Ray Jane and "surrounded by a group of people who manage to concentrate on something for more than 15 minutes", "MOH4Ever" is one of the most personal things that Emile Cartron-Eldin delivers today, "from the salt-dough workshops in kindergarten". Opening, "His Master Voice" transforms the tribute to a recently deceased loved one into a sad clown's dancing homily. With no surprise follows "Wander" and roaming in a Paris traveled up and down at least ten thousand times already. "Music On Hold 4 Ever" then releases the title of this album in a cry accompanied by an invitation to "unplug" his singer. We hear a bit of the group's very first single, "Bread", taken through the prism of Beck's "Up all night". "Citadel", 6'30" end of side A, loudly proclaims as a chain-breaking the nostalgia of truant school and a desire not to die (at least not like Darby Crash). Mixed in - like this entire album - are the versatile ingenuity of LCD Soundsystem and Gorillaz with Italo-disco arrangements from Roberto Zanetti (aka Savage). With "Over", "Home", "Taming a Tiger" and "Last Laugh", side B prolongs the tightrope walker's delirium by summoning in no specific order, memories in Vienna, resumption of excessive consumption, the fact that "the director of the US Federal Reserve is a real fake-ass" and the cynical humo(u)rous swings of a guy overwhelmed by them in an everlasting after-party. From the first LP, "30 Minutes Of..." and its already delayed release, its chopped tour, "Music On Hold 4 Ever" digs a refined pop, no longer as "solar" as some could have described it when everything seemed to be going quickly. Retaining a semblance of immediacy, the 8 pieces of this second album open up new perspectives with their elegant sophistication, in a quite French and truly original touch of DIY and experimentation that the group can pride themselves on. " I'm twenty-nine, and i don't wanna die ".

Soul To Burn features highly inventive and memorable avant-rock songs by trio of celebrated musicians, Reciprocate. The germ of the notion that would flower into Soul To Burn came when Reciprocate’s vocalist/guitarist Stef Kett reflected on the idea of funk rock. It ought, he thought to himself, be the best of genres but so often in practice it ends up being the poorest. True enough. Kett decided to approach the problem from a fresh angle, multiple fresh angles, grinding angles, creating an “alt-soul” in which the soul gets to stretch and burn, applied with the power of a rock’n’roll trio but dynamism and agility, rather than cumbersome bulkiness. Reciprocate is a super-group made up of highly celebrated musicians from the UK DIY music scene – their singular, searing-hot power conjured by Stef Kett (Shield Your Eyes) in tandem with drummer Henri Grimes (Shield Your Eyes, Big Lad) and Marion Andrau (The Wharves, Underground Railroad) on bass. The result is the excellent Soul To Burn, which proceeds at a cadence all of its own, halting and blasting, ducking and weaving, zooming away from its distant cousins: Taste era Rory Gallagher or Mr Zoot Horn Rollo of Captain Beefheart’s Magic Band. That’s particularly evident on “Self Regarding Floor Sweepings”, with echoes of “When Big Joan Sets Up” from Beefheart’s Trout Mask Replica, especially with Kett’s added harmonica as the trio hit the winding dirt track, slaloming and swerving. Here is an album of full throttle soul, an avant-rock made up of ear worms so intoxicating they borrow from deep in the mind down deeper into the heart – it’s the cool, weighty groove of Tony Joe White leathering it at full throttle, fuelled by virtuosic back beats that remind of somewhere between the rolling rock of Mitch Mitchell and the fractured noisebeat of Lightning Bolt’s Brian Chippendale: immediate, innovative, virtuosic, exhilarating. Key to the impact of Soul To Burn is Grimes’ drumming, a force unto itself, which sometimes feels like it’s engaged in a creative and playful tussle with Kett’s virtuosic vibrato guitar. Take “Rhodia”, which sounds initially like a radical reworking, an anagram of Free’s “All Right Now”, on which Grimes doesn’t so much hit the groove as hammer it into the ground. Reciprocate tend to be averse to mere repetition, too full as they are of ideas, possibilities. But they know how to hit a riff, as on “Pissed Hymn”. Kett’s vocals are unconventionally impassioned - no vibrato or performative hollering. Rather they climb, up and and again up from the pit of the soul. There’s a sense throughout that this music is hard wrought, squeezed through small apertures, produced against the odds, born to trouble as the sparks fly upwards. There are quieter moments, however, such as the exquisitely beautiful “Ressypressocate”, which affirm the ultimately tender place from where this album proceeds, notes plucked like black flowers, twisted and cherished. Reciprocate demonstrate an astonishing virtuosity, nuance and musical sensitivity manifested through their deep mutual understanding and synergetic interactions. There are moments of sync and camaraderie that remind of the very late Beatles, those rare moments during the Let It Be Era when they loosened up, reassumed their old understanding. But then Kett’s lets fly with a long, looming note and suddenly we’re somewhere else again. With Soul To Burn, Reciprocate set out their stall of intoxicating, super catchy good-time, big heart music – a human album delivering a human message of love and love lost. By the album’s end, you’ll feel pushed and pulled through the mill, wiped out, blissfully exhausted, strangely serene

Großartige Songs aus dem reichen Fundus der Popularmusik von Scott Walker über Robert Wyatt bis St. Vincent. Auf ihren Wesenskern reduziert, in ein neues Licht getaucht und niemals übermotiviert vorgetragen. Lyrischer Jazz, Kontemplation. Pianist, Arrangeur und Produzent Uwe Schenk hatte mit Jochen Feucht (reeds), Florian Dohrmann (b) und Michael Kersting (dr) bei den Aufnahmen zu dieser LP drei äußerst routinierte Musiker an seiner Seite. Musiker, die die Schönheit der Reduktion schätzen. Die Auswahl der Songs übernahm Co-Produzent Andreas Vogel. Der DJ und Musikconnaisseur wusste dabei genau, welche Stücke bei Uwe Schenk auf fruchtbaren Boden fallen würden. Schenk schrieb daraufhin sieben Arrangements, die die Grundlage von Since You've Asked bilden. Im Jazzidiom verankert, mit einem Fokus auf Holzbläserklängen, sorgt vor allem das warme Timbre der Klarinette für den unverbrauchten und frischen Sound der Songs. Beste Voraussetzungen für eine entspannte Recording-Session und im Ergebnis eine LP, die dazu einlädt, sich ganz dem Klang hinzugeben, um tief in die Musik einzutauchen.

Kallaikoi is the term used to refer to all the Celtic clans settled in ancient Gallaecia (northwest of the Iberian Peninsula). They were skilled in metallurgy and the production of tools and weapons, and worshiped a variety of deities, some of them related to nature
and war. Although they disappeared as an ethnic group in antiquity due to Romanization and subsequent consequences, their cultural legacy and Celtic influence in Galicia persist until today. Somehow, that ancestral legacy lingers between the grooves of this
release you have in your hands.

The double EP opens with The Transhumans: Techno, syncopated bass drums and industrial nuances appear in 'Ánima'. Ian Axide proposes robust and percussive Techno in 'Antro', while Obseth lets arpeggios fly in 'Pink Pills'. These tracks are indebted to that
Techno reminiscent of the late 90s golden years monolithic sound.
Side B opens with the local heroine and co-founder of Archaic, Proyecto Inopia, who opts for resounding rhythms and synth sequences sharp like shark teeth, seemingly paying homage to earlier decades in 'Hécate'. Mist Gasp also follows a metallic monotrax line in 'Standarte'. And the first 12” closes with Brai’s '75', where he unleashes Techno meets New and Synth Wave with a nod to the 80s.

The second EP lowers the intensity and tempo, opening with the calm and nostalgic Electro from Synth Alien in 'Pakhum'. Local artist Lefrenk raises the tempo and intensity in arpeggios in a propulsive Electro-Techno wave in 'Fenix'. And also from A Coruña, Roi controls the beats in an electro base that advances later towards obsessive and lacerating synths in 'Melusa'.

The last side of the double album is opened by David Karro with 'Ionosphere', a track with unsettling synths that doesn't need beats to shape its hypnotic and nebulous character. 27 003 delves into the sounds of classic Electro drum machines in 'Sweet', also with clear IDM and dreamy evocations. Corrosivo continues in that vein, with marked Sheffieldier echoes in 'Fast Food'. The EP is closed by Death Whistle with one of his usual opuses where darkness, beauty and epic coexist.

Impex Records is celebrating the 35th anniversary of this seminal audiophile classic with our final and finest collaboration with long-time partner and raconteur Jennifer Warnes. This ultimate authorized production of Famous Blue Raincoat is getting the complete Impex 1STEP treatment! After Bernie Grundman cuts the last lacquers, Jennifer's analogue master tapes will return to her personal vault for good.

Impex has always treasured our work with Ms. Warnes, from the original Famous Blue Raincoat 45 Box, The Well, The Hunter, and her latest LP, Another Time, Another Place. Each of these releases celebrates Jennifer's singular legacy of musical excellence combined with exceptional craft in coordination with the original production team of Jennifer, C. Roscoe Beck, and Bernie Grundman.

For FBR's ultimate release, Impex returned to Jennifer's first-generation analog "slave" master tapes and let Bernie work his magic within the laborious 1STEP mastering process on BG Mastering's tube-cutting lathe. We will cut as many refs and test pressings as needed to get the quietest surfaces and intimate detailing. Final discs will be pressed at RTI on VR-900 super vinyl, illuminating every note and nuance of this cherished masterwork.

The three 1STEP LPs and the elegant new 24-page booklet are housed in a deluxe four-sleeve Monster Pack tip-on jacket and booklet with metallic accents and spot gloss applications. Even if you have every version of this pop classic, you will find considerable value and new benefits from this unbeatable production!

The 1STEP Process:
The Impex 1STEP process relies on short, tightly controlled runs that require a new lacquer after each run of 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details, and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies, and increases signal integrity from the master tape to your system.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Airto Moreira and Flora Purim, the legendary King and Queen of Brazilian Jazz, have captivated audiences for over six decades with their vibrant albums and exhilarating live performances. With a dedicated global fan base including the UK's jazz funk and jazz dance scene to Japan's concert halls, the power couple continues to make waves in the industry – Flora's 'If You Will' (2022) album was even nominated for a Grammy! The duo met and came together musically in Sambalanço and the Sambrasa Trio. The mixture of Airto's rural Brazilian background and percussion talents and Flora's classical training and involvement in the underground Bossa Nova movement, created a unique blend of sounds that resonates across generations. They have not only collaborated with music legends like Miles Davis and Chick Corea but have also produced ground-breaking music alongside the likes of Hermeto Pascoal. Despite facing numerous challenges, including Flora's arrest and incarceration in 1974, the duo's close connection with friends-musicians like Thelonius Monk and Cannonball Adderley, their persistence and absolute passion for music have propelled them to the pinnacle of success. They worked with renowned musicians like Wayne Shorter, Jaco Pastorius, Herbie Hancock, Joe Henderson, McCoy Tyner, George Duke and producers such as Orin Keepnews and Creed Taylor. Having been a part of numerous prestigious ensembles, including Dizzy Gillespie's United Nations ensemble, Airto and Flora's journey is a testament to their innovation and devotion to their craft. This collection offers a glimpse of that incredible journey, showcasing their extraordinary talent and unique sound and it’s also the first comp scanning their 60 year careers Compiled by Straight No Chaser editor/publisher Paul Bradshaw & Totally Wired Radio presenter Roberta Cutolo. Àṣẹ.

All the gems of Electronic Music in a 5 LP boxset with : Fakear - Kölsch - Fritz Kalkbrenner - Laurent Garnier - Bicep - Kerri Chandler Thylacine - Bob Sinclar - Mr. Oizo - The Prodigy - Alex Gopher - Purple Disco Machine...

2 x 180gr Vinyl inklusive DLC im Klappcover mit Artwork von Ana da Silva, CD-Edition mit Bonustrack "Let's Eat Pasta". "Island" ist das neue gemeinsame Album von Ana da Silva, Gründungsmitglied und Songwriterin der wegweisenden Post-Punk-Band The Raincoats, und der legendären japanischen Musikerin Phew. Eine belebende Odyssee im industriellen Lärm, ist ,Island" voll von absorbierenden Texturen, taktilen Beats und einem meisterhaft dynamischen Kompositionsstil. Jede höhlenartige Spur fühlt sich an wie ein Gespräch, und aus der ominösen Dunkelheit kommt eine generative Hoffnung. Ana und Phew tragen Wortstücke in ihren Muttersprachen Portugiesisch und Japanisch bei und reflektieren über Isolation, Freundschaft und Natur. Der Alltag ist tiefgründig. Eine fesselnde Stimmung wird durch den gemeinsamen Stoizismus und die subtile Verspieltheit der beiden Kult-Punk-Ikonen erzeugt. Jeder Song wurde gemeinsam von Ana und Phew komponiert, die Dateien per E-Mail ausgetauscht haben. Manchmal erinnert ,Island" an das düstere Pochen von Phews aktuellem ,Light Sleep"-Album (das wiederum an Suicide erinnert). Die Logik von ,Island" ist eine des weisen Minimalismus. Es gibt ein Gefühl der Entdeckung, das den Raincoats-Fans vertraut sein wird - ein Gefühl von Poesie und Neugier, von Intuition und Erfindung, von neuen Sprachen, die Gestalt annehmen.

For this edition, we present to you a selection of works from an enigmatic producer hailing from Pescara, Italy: Yu.

Four cuts of relentless, live hardware jams of dynamic club-oriented techno, touching on electro and trance, and packed full of analog richness.

Following the due process of artistic exploration, Yu has been recording music incessantly while remaining underground, sharing it with just a lucky few. In fact, it’s quite likely that you’ve heard Yu’s music before, unknowingly.

We’re excited to present his third official release to date.

Repress!

On 22nd October, the Nottingham-raised and highly-praised musician/DJ/producer Matt Cutler, AKA Lone, presents his 8th album – and first in 5 years – ‘Always Inside Your Head’. It marks two major changes, with both a new label and new approach – featuring vocalists for the first time.

This deeply textural and ethereal artwork is situated high above the clouds, amidst the heavens, occupying a stratospheric state where swathes of synthesized vapour and azure rays sound like a literal breath of fresh air.

A varied selection of music influenced the record, but two main influences were Cocteau Twins and My Bloody Valentine. “I wanted to approach a range of different styles, but attack them from their angle in a way, so for example on 'Inlove2' I tried to imagine what a Balearic / acid house tune might sound like if it were produced by Kevin Shields”, comments Lone.

Another key example of Cutler’s strange but successful combination of elements is the halcyon bliss of ‘Echo Paths’, where his trademark fat drums and love for hip hop meet double-time pan pipes, dub effects and dream pop, mixed into a wonderfully lysergic concoction.

This rarefied auditory stratus was previously evident in tracks like ‘Alpha Wheel 4 (Ambient Mix)’ from ‘DJ Kicks’, ‘Under Cherry Blossoms (Minds Eye Reprise)’ from ‘Ambivert Tools, Vol. 2’, ‘Pulsar’ (from ‘Ambivert 4’), and ‘How Can You Tell’ (from ‘Abraxas’), but is now more fully-fledged, broader in scope and even more celestial.

In addition to the above, the LP exists somewhere between trip hop on Mo' Wax, 90s Warp, intelligent drum & bass and ambient house. There are heavier forays too, like ‘Mouth Of God’, where darker clouds emerge, but are pierced like acid lightning with fierce, tearing tech-step bass.

Although still firmly rooted in club culture – here Lone shows a definite leaning towards a song-based sound, with several tracks edging towards the same crossover space as the nineties hits which also inspired him – particularly William Orbit’s production on Madonna's 'Frozen', and Olive's 'You're Not Alone'. This is especially evident on the bright, spacious brilliance of 'Hidden By Horizons', where vocals and synths swirl around one another, with crisp breakbeats and reggae rolls pushing purposefully through the ether.

Despite initially seeming almost entirely sunny of disposition, upon deeper immersion there’s lot more beneath the album’s surface, both in its deep pools of immiscible layered elements, and also thematically. When recording Cutler kept in mind a loose narrative based on birth, death, and our existence in-between.

He then extended this idea to reach what may happen after death, which is reflected in the sequencing: By penultimate track ‘Undaunted’ the life reflected in this longplayer has come to an end, which is then followed by 'Coming In To Being And Passing Away' – an afterlife epilogue, which evokes a transition from this world to the next.