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Night shifting patiently, slowly drifting in constant flux. Where Ancient Plastix’ debut used rhythm to create geometrical sound architectures and craft elaborate mazes, his new offering ‘II’ glides effortlessly, combining incredibly rich textures with soft swan-like strokes, oscillating gently, an unhurried pace that combines the depth of Japanese ambient maestros and the choppy British mist.

Liverpool producer Paul Rafferty aka Ancient Plastix, recorded ‘II’ straight to cassette with a number of different synths (Yamaha Reface, Korg MS20) and keyboards (90s casio and 70s Gem organ) via a collection of guitar pedals, outboard (Roland Space Echo, Melos delay, spring reverb). His tape machine this time was a Japanese Sansui from the 90s, a strange 6 track machine with a pleasing fidelity bought off from an old rave dad who was finally giving up the ghost.

“Musically, this album is more patient in its approach to the predecessor. Recorded towards the end of lockdown in my highstreet basement below a used record shop, the arrangements reflect the personal era. No responsibility, no reasons to adhere to the previous patterns in my music making. As a result the album is a patient trawl through new discoveries and possibilities presented by improvising with old technology.”

There is a widescreen grandeur that permeates Ancient Plastix’ production, a cinematic instinct that steers clear of crescendos by creating paths that revel in warmth and emotion. Flotsam & jetsam, instinct, burnout, heartbreak.

Powel returns to All Day I Dream to release his newest celestial sonic masterpiece, the Piano Reeves EP

Enter the ethereal sonic realm of Paul Chriske, the German musical maestro known as Powel, who specializes in “creating harmonious illusions of sound.” Powel is a longtime family member of Lee Burridge’s All Day I Dream imprint, having first released on the label in 2015. Releasing his four track Piano Reeves EP on May 19, Powel returns to All Day I Dream to release his first record with the label since his The Beauty of a Polaroid album in 2020.

A pianist since youth, Powel's extensive experiences from a lifetime of performing with bands and orchestras has imbued his music with depth and complexity. Finding inspiration in the people and places he encounters on his travels, Powel draws from a vast and nuanced musical palette. Piano Reeves epitomizes Powel's unique touch as a producer, weaving together warm celestial vibes, airy atmospheres, and delicate rhythms.

Past Inside the Present's 'Pulse' series is an investigation into ambient tech and beat-driven ambient sounds. Who better for the job on this second edition than master craftsmen ASC and Joachim Spieth? ASC opens up with 'Tidal Disruption Event', an understated, underwater rhythm with jittery percussive patterns and bright shards of melodic light piercing through the mix as more coarse soundwaves break over the top. Spieth's 'Subtle' is just as artful and delicate a mix of persuasive rhythm and melodic beauty. A classy Nitechord remix closes out this fascinating EP.

Emotional Rescue looks to the newly rebuilt but still very much culturally separate East and West Germany of the 1980s with this new EP. It's dub reggae through a post-punk and alternative lens by Hanover artists Felix Holter aka Dubvisionist.

All these cuts have a very live, improvised feel because father way he worked from rhythms first and jammed endlessly before adding the vocals. They are taken from their 1987 release 10 Tracks Of Reggae & Dub Music which was inspired by the great Adrian Sherwood label On-U Sound label, and you can hear that clearly.

Rewind LTD launches the first vinyl release featuring our friend from Paris - Jeff The Fool, in the company of his French friends on remixes Crowd Control, Wilt, Ghetto 25.

Antoine is a lover of smooth deep house melodies and hip hop, as well as seductive French and Russian words cut into his samples.

The original versions begin with a magnificent fusion of jazz, funk and house vibes,having honed his already recognizable style in his studio and using samples in a compartment with analog synthesizers, Antoine declared himself in his native France, and far beyond its borders.

Soul Farmer is a smart, fast and rhythmic track with sample editing and an infectious groove in collaboration with Ghetto 25, next comes an energetic, dynamic remix from Wilt, this is a club house track with a touch of techno and a slight sourness, which will obviously work on the dance floor, the boss of the famous label Happiness Therapy - Crowd Control finishes this journey, this is a subtle but sublime remix, with dreamy pads and a classic bass part, emphasizing the now familiar and memorable melody of the original.

We are thrilled to announce the next release on Pleasant Systems from Nu-Cleo, who is widely known for his impressive musical works as Rhythm Of Paradise, Gourment De Funk or Rydm Sectors alongside Nico Lahs, to name a few. Hailing from Bari, Nu-Cleo has garnered much recognition for his releases, which are easily distinguishable by their rich warmth, profound depth, and unpretentiousness. "Never Satisfied" is another demonstration of his mastery, featuring four instant classics that span from the lighter, groovier side of house to a more introspective and contemplative one.

Ygrok brings a long-awaited fourth release to its catalog. René Audiard's Sakhalin' takes things a step away from traditional club music.
The A side, Vox Out' opens with the skeleton of a rhythm. Scattered tom drums and barely detectable whirs, fading and reeling in the background. When the distorted voices begin their story behind a hissing, grinding off-shaker, you know this will not be your traditional club track. A story develops. The barest hint of a shuffling beat, a subtle reminder of Soren's previous work, pins down the journey into the darkest psychic territory. The title track Sakhalin steps even further into darkness. Crackling electrics and disjointed atmospheres change at a glacial pace over a submerged hydraulic beat. Sakhalin Audiard experimental territory.

Wirski’s debut on MISBHV Recordings offers a nuanced narrative operating in its own genre of Eastern European rough-edged club melancholy.

MISBHV004 opens with Inside The Dark Echo – a claustrophobic, stifling, relentless, sensual dance with desire. Darkroom complexity with heavy surface tension built on an EBM undercurrent flirt with subtle psychedelia and traces of acid that slowly firm up their multi-layered grip through its running time of six and a half minutes.

Warszawa paints a stripped-back, tantalizing picture. Opening with a brutalist, militant drum programming and surprisingly spacious, warm bassline, its rigid rhythm, tightened up by a repetitive, cold breath mantra eventually opens up to bright, shimmering synth flickers evoking olibanum – the sacred scent of altar candles. Warszawa is looking at the multilayered melody of its landscape – from eerie Soc-realist blockhouses, through neon-lit, seedy strip clubs of the 90s to opulent sacral architecture.

Warm Waters Of Eternity subtly weave a cinematic, Carpenteresque soundscape with a sense of overpowering, ecstatic innocent euphoria that invokes a dream of an early 1990s rave deep in the dark woods of Poland.

Reissue of this legendary album from Orchestra Baobab. Remastered from tapes.

Released in 1981, the legendary album "Mouhamadou Bamba" is the masterpiece of the Orchestra Baobab, which has dedicated more than ten years of existence. Under the direction of the percussionist saxophonist Issa Sissokho, of the irremovable guitarist Barthélémy Attiso the band records this album at the Golden Baobab studio in Dakar directed and produced by the young producer Ibrahima Sylla.
The Baobab symbolizes both the rooting in Senegalese traditional values and the ability of the tree to reach heights, the sound of the group is a perfect syncretism of Senegalese and Afro-Cuban imaginaries in which the montunos of electric guitars and vocal improvisations in wolof language marry subtly to the rhythms of cuban son and other boleros.

Original soul man Carlton Jumel Smith and the infamous Mocambo crew hook up for a double sider 45 of the highest order. The A-side "Keep On Swinging" is a slab of tough street funk with real-life storytelling about persistance and not giving up, hitting heavy on the one. Carlton's message of and positivity and encouragement continues on the flip side, "Hope", an uptempo sweet soul hitter with a strong gospel vibe over urgent breakbeats.

Recorded on 8-track tape featuring members of the Mighty Mocambos and Bacao Rhythm & Steel Band, this single is equally at home at breakdance battles as it is at soul allnighters, and whether you're in a gangster limousine or in church – turn it up! "Long live soul music".

Back in 2013 we took ourselves on a discographic adventure without really knowing what we were doing! Who would have thought that 10 years later, we'd be releasing our 50th 45 RPM record?

As luck would have it, we are happy to announce our new release, in collab with one of the flagship bands from today's funk scene, Germany's own "Mighty Mocambos", who have been delivering their instrumental groove and Caribbean vibes via their alter ego, "Bacao Rhythm & Steel Band" across Europe for more than fifteen years.

So, what better way to immortalize the raw and intense live sound that they're famous for than releasing a record on our favourite format?

Two sides recorded live on tape during the "Queen 16 B-Girl battle" in Berlin in 2022. Somewhat reminiscent of Can's "Vitamin C", the A side "International Cypher" has an oriental funk feel thanks to the use of the sharp sound of an electric Phin (Thai guitar), while thestraight up percussive funk instrumental "Queen 16 theme" pays tribute to the B-Girls onlyfestival, of which the soundtrackwas designed for the occasion.

Pointillist club rhythms and dense, porous dub clouds encircle the Wrecked Lightship as Laurie Osborne and Adam Winchester set sail for phantom islands once more. The nocturnal boatswains chart a course guided by pronounced percussive impulses, using physicality to navigate the looming atmospheric pressure that has become their signature style.

Opening tracks ‘Arial’ and ‘Third Law’ speak to the roots of Osborne and Winchester’s respective work as Appleblim and Wedge, dealing in dancefloor abstractions where techno, electro and dubstep once stood, but there’s much more at play than simple genre tags could ever express. ‘Third Law’s electro-static interference calls back to Winchester’s work in Dot Product, while the twitchy urgency and gnarly bass echoes Osborne’s ALSO project with Second Storey.

Wrecked Lightship is an anchorless concern, free to drift into experimental waters if the currents surge that way, and so ‘Kill Mirror’ and ‘Hydrotower’ head away from forthright structures to play around with sound design and full-frequency manipulation. It’s too kinetic and jagged to be considered ambient, even if it willfully shirks the dancefloor. But for every starboard swerve there’s a prevailing wind, and the likes of finely-tuned club weapon ‘Take It Back’ whip ahead with laser-eyed focus.

Nailing their split interests between immediacy and the avant-garde to the mast, Wrecked Lightship deepen the reach of their project on their second album. Whatever shape a specific track might take, Oceans & Seas serves as a paean to the art of sonic manipulation and spatial processing.

Written and produced by Adam Winchester and Laurence Osborne
Artwork by Chloe Grove
Layout by Takashi Makabe
Text by Oliver Warwick
Mastered and cut by Simon at The Exchange

Dire Straits' arresting self-titled debut arrived in the midst of punk's reign but couldn't have been further removed from the era's slash-and-burn style. Recorded in West London in February 1978, the band's tasteful, jazz-inflected set embraces folk, blues, and pub rock while also tracing a direct line back to the beat-oriented sound of early rock n' roll. Country and roots accents further distinguish the British quartet's stripped-down music from any 1970s peers, as does the transparent production, which has remained revered among audiophiles the world over – and which has never been better than on this meticulous pressing.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Dire Straits features natural tonalities, superb balances, you-are-there imaging, deep-black backgrounds, and pristine clarity. Even if you've heard this album hundreds of times before, you've never experienced it with such lifelike sonics and premium richness. This numbered-edition collector's set immerses you within the smoky, laidback atmospherics of every song. This is how all vinyl should sound.

Crucial to every arrangement, Mark Knopfler's winding guitar lines emerge with supreme transparency and multi-hued textural detail. His intricate playing comes across as if it's being transmitted via his 60s-era Fender Vibrolux amplifier placed right before you. The cleanliness, dimensions, and live feel are that good. His bandmates, too, benefit from the extra groove space afforded by this 45RPM edition. Rhythms skate and swirl; percussive effects resonate with crispness and attack; the leading edges of notes naturally decay.

Dire Straits' strong, well-edited batch of original material further enhances the overall enjoyment and makes the record one whose pleasures go far beyond the organic sonics. Just as Knopfler's narratives pour forth with poetic and surrealist texts, the musical settings – an intoxicating combination of easygoing shuffles, back-hall boogies, and pop-honed ballads – mirror the old-fashioned soulfulness inherent in the classic recordings of the late 50s and early 60s. The lyrics are equally captivating.

Drawing from his time as a youth in Newcastle, Leeds, and London, Knopfler invests tunes with an autobiographical slant and emotional connectivity that become obvious the moment he opens his mouth to sing. "Down to the Waterline," "Wild West End," and "Lions" all feature colloquial touches that add to their reach. By extension, "In the Gallery" functions as a tribute to Leeds sculptor Harry Phillips (father of future Knoplfer collaborator, Steve Phillips) while the record's breakout smash, "Sultans of Swing," pays homage to struggling bar bands.


Through it all, Dire Straits performs with a subtle cool and clever poise that no band ever matched. Just how good is the chemistry? Bob Dylan heard the quartet and invited Knopfler and drummer Pick Withers to play on Slow Train Coming. But even Dylan himself didn't hear Dire Straits sound this magnetic back in its original heyday. Now, everyone can.

Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort.

The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.

Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro – the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.

Similarly, so do "Country Son" and "Black Comedy." In his original review for jazz authority Down-Beat, Larry Kart observes: "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Son' recalls a fragment from his 'Summertime' solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight-ahead solo here, the orderly pattern of the past is displaced and fragmented."


Flavoured with humuor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explode with creativity, purpose, and color.

Foyer Red’s debut LP, Yarn the Hours Away, plays out as a collection of short stories, each with its environment and protagonist(s) meticulously crafted by the band, with lead singer, vocalist, and clarinetist Elana Riordan at the helm. Foyer Red’s debut EP, Zigzag Wombat, showcased their playfully chaotic arrangements, which bridge art-punk, math rock, and sweetly sung indie with a dash of the zoomies.

The band synthesizes their homespun take on magical realist indie rock that was centered on their EP with their varied musical influences; taking cues from the otherworldly melodies of Cate Le Bon, Yucky Duster’s jangle-filled crayon rock, and the organized chaos of Deerhoof’s iconic polyrhythms. The songs that makeup Yarn the Hours Away are fantastical, surrealist stories that hinge on contemporary, post-digital life.

The lead single “Etc” captures this dynamic perfectly. Anchored by Eric Jaso’s hypnotizing bass line, the song unfolds with off-kilter call-and-response vocals between Riordan and Kristina Moore, their stilted deliveries bouncing around the mix. The track is searching but discontent with the algorithmic and claustrophobic realities of daily life: singer/guitarist Mitch Myers throws the song for a loop singing, “gathering information / will set you free once you’ve reached / 37 percent / of the database.” While there’s paranoia and cynicism undergirding the lyrics, the song itself is a thrilling and playful listen.

The songs on Yarn the Hours Away are uniformly exciting and compelling; each track feels distinct and sometimes even in direct conflict. The peppy opener “Plumbers Unite!” belies its themes of gamification of our daily lives and delves into the science fiction and fantasy songwriting of Foyer Red’s debut EP. Centered around a relentless rhythm section, their dueling vocals never abate; Moore and Riordan’s honey-sweet but getting more frantic as the song progresses, while Myers’ erratic talk-singing culminates in one final frustrated scream. Juxtapose this with “Gorgeous,” a lovely song about Riordan and drummer Marco Ocampo’s relationship that sees the band slowing their pace into a blissful sway. Riordan coos and sighs over the track while recalling “Marco-isms”; botched colloquialisms that Ocampo uses.

“Gorgeous” shares little in common with “Pocket,” a loose lamentation on late capitalism that touches on time travel and human evolution. Moore and Riordan’s exclamations are chopped up and used as rhythm instruments, layered over the intricately frenetic guitars of Myers and Moore. Foyer Red thrives on these extremes and contradictions. Where their first release was self-recorded, this LP found them in Figure8 Studios with a deadline. “It was really liberating,” says Jaso. “We're all just kind of throwing in our own voices and challenging each other to make the songs better.”

Yarn the Hours Away comes from a lyric on the closer “Toy Wagon.” The song that first marked the time Moore and the rest of the band worked together, a promising spark of a thrilling collaboration to come. “It harkens back to all of us coming together and spending the hours together in music,” says Moore. “There are few moments where you get to relax and exhale,” adds Riordan. “It's what happened when the five of us got together and started writing. We just wrote all of these out there songs and we didn't see a reason to dial that back. Its natural form is in its chaos and layered craziness.”

Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.

Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.

The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.

The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.

The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.

This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.

After his first appearance on Specimen Records as a part of the, SPECTRO-017 with his track “React”, Arsonist Recorder now comes with a first solo-EP on the label, Arsonist Recorder now comes with a first solo-EP on the label, in which the producer reaches back into some deeper, almost trippy states of mind, accompanied by some ultimately addictive electro grooves.

The first track, “Vaxxer”, which also titles the EP, puts up a warehouse-worthy beat, handing out bass-punches as it moves along. A rude hi-hat pattern shuffles the groove, and once the rhythm has you hooked, some lush eerie synth patterns start to emerge transporting the listener to the rooftop of a skyscraper in a dystopian city.

Next up is “Oxidant”, which was written with a close friend in mind who was going through some difficult times. The strong determination of the pulsating bass, overlayed by a very emotional melodic element leads you from the contrast to unity, refecting, pushing forward.

“Multiverse” comes in with a thunderous boom, reminiscent of a huge spaceship landing, which could be a metaphor for events that land on top of our heads, which we have no control over and have to deal with. The track introduces an infectious 808-groove, building up, and some chilling synths warp their way straight into your mind to de-program all the viruses in there and set you free from any mind-control.

Finally, finishing off is “Shiffty”. It lands straight away with a heart-pounding beat, with bass-bots bouncing, adding an ultra-funky bassline that will keep your feet moving. Waves of synthy-bliss wash over as this groove connects all your individual elements together.

LTM presents a limited edition clear vinyl edition of Sorry For Laughing, the legendary first album by cult Scottish guitar group Josef K, recorded for Postcard Records but destined to become the great ‘lost album’ of the post-punk era.
This remastered edition of Sorry For Laughing replicates the original Robert Sharp artwork (a solarised portrait of the band atop Calton Hill, printed in silver pantone), with detailed sleeve notes on the inner bag, and the added bonus of a 12 track CD, The TV Art Demos, featuring all tracks from the band’s very first recording sessions in 1979.
Recorded at Castle Sound Studios (Edinburgh) in November 1980, Sorry For Laughing should have been issued as Postcard 81-1, but was shelved after the band and label boss Alan Horne decided the 12-song set sounded too polished. Perhaps two dozen white-label copies in unmade sleeves exist, and have sold for as much as £1,000 amongst collectors. Josef K issued their second stab at a debut album, The Only Fun In Town, in July 1981 – only to split after completing a promotional tour.
This remastered edition of Sorry For Laughing replicates the original Robert Sharp artwork (a solarised portrait of the band atop Calton Hill, printed in silver pantone), with detailed sleeve notes on the inner bag, and the added bonus of a 12 track CD, The TV Art Demos, featuring all tracks from the band’s very first recording sessions in 1979.
‘They were The Sound of Young Scotland, together with Orange Juice, whose guitars were also radiant and brittle, whose rhythms were also scrubbed and blunt, whose vocals were also proud and serious, but who sounded like another group entirely’ (Paul Morley); ‘In retrospect, their aborted attempt at a debut album feels much superior to what was finally released. The early versions of the songs sound superbly coiled and keen, the sublime poise of Endless Soul their truly timeless blaze of glory’ (Simon Reynolds)

Bonus CD (The TV Art Demos) 1. Chance Meeting (take #1) 2. Terry’s Show Lies 3. No Glory 4. Final Request 5. Art of Things 6. Romance (take #1) 7. Torn Mentor 8. Night Ritual 9. Heads Watch 10.

repress

Tribal dubby breakbeat project originally released in 1991 by Manchester born drummer Morgan King, brought back 30 years later with a remastered release.

Guaranteed anthem for the introspective dancefloors, with heavy dubbed out breakbeat rhythms under trance inducing didgeridoo sounds. A side takes you on trip spanning over 12 minutes starting with faster paced floor action that gracefully fades into a half tempo section – two for one – flipping over to the the B side with two more versions of “Older Brother from the Rock”, the Tribal Om Mix and the Om Beats - something for everyone. Seriously remastered and re-cut for maximum dancefloor presence. Huge on proper sound systems.

Mattias Petersson debuts on the Swiss label Hallow Ground with »Triangular Progressions,« a suite in nine parts written entirely in the SuperCollider environment using additive synthesis. The starting point for the evocative piece is a magic number triangle that Petersson invented during his early composition studies and which has been an obsession of the artist for over twenty years, previously forming the foundation of many other of his works. By exploring the harmonic progressions found hiding within the triangle, »Triangular Progressions« at once emits a sense of introspective calm that fosters deep listening and evokes a whole spectrum of emotions, mediating between the abstract and the visceral.

The Stockholm-based Petersson, also known under the moniker Codespira1 and for his long-term collaboration with violinist George Kentros as There Are No More Four Seasons, has been active as a composer of computer music as well as an artist in the realms of live coding and modular synthesis for over two decades. Originally trained as a classical pianist, he also holds a diploma in electro-acoustic composition from the Royal College of Music in Stockholm, where he currently works as an associate professor. Besides his activities as a musician and teacher, Petersson is pursuing a PhD in composition at the Luleå University of Technology. Researching modular systems comprising both human and non-human modules, he is part of the GEMM))) Gesture Embodiment and Machines in Music cluster.

»Triangular Progressions« can be considered a perfect synthesis of Petersson’s academic interests and aesthetic ideas, combining a mathematical approach with artistic rigour. The magic number triangle highlights the beauty of symmetrical properties. By exploring its idiosyncrasies, the composer manages to translate them into engaging sounds. The lush melodies and harmonies of the music at times call to mind the intimate organ and drone works by label mates Kali Malone and Maria W Horn while also maintaining a unique signature sound. The addition of pure sinusoidal waves enables a deep listening exploration of the counterpoint between melodic and harmonic rhythms, chord structures and spectral harmonies that Petersson extrapolates from those magic numbers.