Suche:running back

AI-32 signals the arrival of ‘The Fifth World Recordings’, by Son of Chi (Hanyo van Oosterom) and long-term collaborator Arthur Flink. A tribute to the late Jon Hassell, who passed away in 2021, the album connects a deep running thread that goes back to the source of Chi project. Carrying on from where Hassell left off, the album takes inspiration and references from his Fourth World music concept and the ancient Hopi tradition of Native America. Illuminating the subliminal space of the arising Fifth World, Son of Chi pays respects to an inimitable force in contemporary music. 

Hassell’s ‘Dream Theory in Malaya’ forms a touchstone to Hanyo van Oosterom’s musical journey, which soundtracked long, deep and reflective periods living in the cave of the Kallikatsou (Patmos, Greece) back in the early 80s. This period resulted in Hanyo’s track as Chi - ‘Hopi’ - in 1984. Hanyo met Hassell shortly after in 1987 at his “The Surgeon in the Nightsky” concert in Rotterdam - it wasn’t until twenty years later that Hanyo invited him for two magic nights of “Instant Composing Sessions” with the Numoonlab Orchestra (with a host of other artists) at the LantarenVenster, the very same stage where Hassell had performed in 1987 and also where Chi did their first live performance. 

Dreamful, mysterious, prophetic, the Fifth World Recordings features the quiet yet elaborate sound of Chi awash with rich instrumentation, field recordings, and old stories by the firelight. Sketches were created with drones, loops, and soundscapes, with which Arthur Flink (also a member of the Numoonlab Orchestra) jammed on trumpet. Channelling Hassell’s idiosyncratic style, floating melodies and lyrical improvisations are parsed into the mix, where Hanyo has processed and manipulated the recordings, also referencing Hassell’s exotic scales and unique harmonics.

Additionally, the wah Bamboo flute at the closing piece is an homage to the works of Chi co-founder Jacobus Derwort (1952-2019). For this piece Hanyo used his first bamboo flute he made at the cave of the Kallikatsou in 1984. Arthur Flink answers in counterpoint with the wah trumpet, almost like the intuitive communication of the nightbirds..

Son of Chi returns to Astral Industries, alongside Spanish artist Clara Brea, for the collaborative release of AI-29. A product of fate, chance experiments, but most of all, sensitive artistry - ’The Wetland Remixes’ exists as a confluence of two kindred musical spirits, a wayfaring epic that draws together a rich archive of ecological field recordings, live instrumentation and higher inspirations.

Ahead of Hanyo’s concert at Calma (Madrid) at the end of 2019, the curators organised a special dinner and arranged the meeting of Clara and Hanyo. As Hanyo recalls,“It was like stereochemistry. There was an instant match and understanding, and basically we decided in a split second to exchange recordings and to collaborate on future live and studio experiments.”

The auspicious meeting of the two ignited a remote exchange of materials and ideas, as the world descended into a series of pandemic-related lockdowns. The first of said recordings included the stems of Clara’s ‘Wetland Project’ - a site-specific audiovisual project originally produced for Eufonic Festival (Spain), using field recordings from the Ebro Delta nature reserve (one of the most threatened regions of climate change on the Iberian peninsula).

From this initial impetus, Hanyo began working on the first sketches of the album back in Rotterdam, Netherlands. Just like their meeting in Madrid, the project developed naturally and spontaneously with extraordinary ease. Later, Hanyo started adding field recordings from the Magic Cave and Wetlands of the ‘Kallikatsou’ (Patmos, Greece) as well as organic and acoustic overdubs, featuring bass, drums, percussion, guitars, oud, piano, hammond organ, wurlitzer, flutes, bells, and mouth harp.

In the distance, the sound of birds peak through the effervescent wash of the wetland soundscapes. The pass of running water flows deeper into a land full of secrets never told. On the strike of dusk, the silhouettes of shapely trunks and foliage melt slowly into the impenetrable darkness. As darkness passes, light emerges, with exquisite moments of tranquility that seemingly emerge from nothingness.

Beneath the shimmering veneer of textures, wildlife and melodies, one may hear the deeper references of ’The Wetland Remixes’. With credit to Clara’s input, for Hanyo the album process became a kind of refuge, and ultimately inspired the return to the core of Abstract Sound - what the Sufis call“Saut-i Sarmad.”Such references allude to the spiritual quality embedded in the music - the autonomous process of self-expression, the great mystery. Hanyo: “An ambience like this cannot be created by routine. There is no blueprint. The music has to find you. It’s like a blessing if it happens. You should not interfere, just observe and be impressed...”

Deep, luscious mind trips as per the classic Chi sound, ‘The Wetland Remixes’ beautifully correlates the interconnecting dots of geography, ecology, and mythology’s forgotten lore.

Mr. K takes on two different disco moods in the latest in his long-running series of edits on 45.

Danny Krivit’s edit of Tony Orlando’s “Don’t Let Go” was released in Japan in 2012 and immediately became a sought-after, impossible to find rarity. Orlando’s version of “Don’t Let Go” was released at the height of the disco era, but the song itself was already a well-worn pop standard, having been covered by numerous artists before the pop singer tried his hand at it, switching things up with a percolating disco groove. “I never expected to rave about a Tony Orlando record,” wrote Vince Aletti in his Record World column in June of 1978, “but this one’s really terrific… My pick for a summer refresher.” The Jimmy Simpson mix on the original 12-inch follows the vocals with a long instrumental section that teases the various elements provided by the Muscle Shoals band (guitar, vibes, strings, and above all a sinuous synth) back in over the relentless bass and drums. Danny’s edit, which he’s trimmed down for its debut on 7-inch, works with this instrumental break and more than lives up to Aletti’s description as an addictive warm weather jam.

From the moody instrumental sound of “Don’t Let Go” we move to the bright uptempo vocal track "I Fall In Love Everyday." In spite of the relative obscurity of this fabulous but lesser-known cut, it comes with a sparkling pedigree. “I Fall In Love Everyday” was written by Jay Graydon (whose credits also include “Turn Your Love Around” for George Benson and “Breakin’ Away” for Al Jarreau), produced by Motown ace Mickey Stevenson (who wrote “Dancing In the Street”) and arranged by David Foster, who was just making the transition from session keyboardist to the superstar songwriter/arranger he’d become. The backing track was first used for singer/TV personality Jaye P. Morgan’s version of the song a year earlier, but you certainly can’t blame the team for reusing the music when the band included studio heavyweights like Harvey Mason, Lee Ritenour, Ray Parker Jr., and Kenny Loggins. Danny’s creative edit fashions a clean, DJ-friendly instrumental intro where none existed on the original, and gives new life to a track that’s sure to bring some sunshine to dancefloors.

As always, these unique selections from Mr. K’s personal stash are cut on a loud, club-ready 7-inch pressing.

DJ Traytex showcases in his debut release with the Back Then EP on Loser Records, his skill with ambient breaks, with light, glittering melodies that trip over deep basslines and punchy rhythms. Soft, meandering cadences and flowing landscapes combine with a thumping, sometimes brittle drive in the breaks, making this EP as cerebral and emotive as it is atmospheric and danceable: just as much for the private listener, as for a dancefloor vibrating at 5am.

Repress

Techno Letfield legend. Peder Mannerfelt returns, this time in original format, with the second version of a track called The B. The first version probably never existed. As you will hope that this one never existed too while your brain is melting in a Swedish oven spiced with hoovers and sub bass.

Hard to deny the back and forward energy between the Copenhagen scene and KAOS. Repro is back in the show. The moment of impact is a heavy trip on high energy mode. Please wear your helmets.

Dirty Rocking Bassline is most probably one of my (and SPFDJ) top 3 most played tracks ever. That would be a reason to be more than excited to welcome directly from Devon (UK) to Darc Marc. But you wanted more: Running With The Devil has been another sure hit in your TRACK ID?? requests in the last months. Free-party rooted, hyperdrive, sexy, dark, fast... And now you believe.

The hardcore-IDMish dystopia from Uncrat closes poetically this new issue, giving more meaning than ever to that mighty quote that once a wise friend of mine said at an after and that I take now as life motto.

#TOOMUCHISTHEMINIMUM

A warehouse jive for number 5 on Running Back's Misfit Melodies series. Introducing new artist and shrinking violet Pistachio, 'Ilox' cuts house music out of a techno cloth and vice versa. One of three direct cuts between chord memories, distant voices and space echoes, complemented by a drone piece for the times before, after and in-between. Classic soundscapes with a modern drive. Nutritious as a nut.

D-Floor is ready to come back on vinyl with the new EP by NiCe7.
From the title track 'Running man', with catchy vocal hook, to the
more emotional 'Red on sand', this release marks a new series from the talented italian duo. Analog synths, house grooves and old samples working together in both mixes.

Having been a fan of Reelow for, well, as long as we care to remember, we are really proud to present you his new outstanding EP on Cellaa Music. Now residing on Ibiza, Reelow has enjoyed yet another successful year. With the talent taking a back seat, its the music hogging the spotlight and rightly so. Two new Tracks and two massive Remixes that look to the past whilst sitting firmly in the present.

- Leave Me Alone' riding on massive percussion and a tough house beat, with this tough Drums and drunken, wubby Sounds it is running right through its core. Plenty of sonic details flesh out the languorous but slightly groove and you'd imagine this Track is to be the sort of many Artits will love.

- Your Crowd' is again about little tiny details and how they evolve with time. This one take you on a voyage of natural rhythms and big Drums. Developing from harmonic FX Sounds and a infectious groove, the track is full of surprises as it twists and turns into different sounds that come and go to take it further than the dancefloor.

The first of the remixes comes from the in form, Massimo Cassini. He team up with a hypnotic rework of - Leave Me Alone' that demonstrates just why he is one to keep a close eye on as he gears up on the production front. Massimo is delivering a muscular house bomb, carefully placed FXs and a nice and catchy line to make this a dancefloor mover.

Next we have Cellaa Music Co Founder Martin Heyder providing a soulful tech house surrogate to the original of - Your Crowd'. His remix has a deeper houseier twist with a smooth 303 pad sound and a concrete percussive arrangement to convey a fantastic production.

We'll meet you on the Dance Floor!!!

Contemplating the role of the album format in an attention-deficient society, Speedy J presents Walkman -- a constantly shifting, 90-minute soundtrack to a journey of your choice. Jochem Paap's first solo album in over 20 years is a freewheeling, 20-track testament to his decades-deep studio skill and sonic versatility, running from skewed rhythmic rabbit holes to exploratory tonal abandon. For Paap, the traditional idea of the album had become obscured by listening habits and the non-stop information barrage of our digital lives. Having moved on from his breakthrough years releasing LPs and touring off the back of them, he was more inspired to develop his many-sided STOOR project and feed into a bigger artistic body of work than the temporary shelf-life of a single release. As is natural for any artist, his perspective shifted over time and he found himself drawn back to the idea of an album, realising he connected best with longer releases while he was on a walk, out for a run or generally in transit one way or another. With an endearing call back to the humble Walkman, he selected an hour and a half of material created during studio sessions at the beginning of 2025, perfectly sized to fit on two 45-minute sides of a cassette tape. As has long been the case for his studio practice, there were no fixed intentions when sitting down in the STOOR lab to start making noise -- just a wealth of experience and an expansive set of tools to start exploring with. From hours of jams Paap pulled together standout moments and moulded them into a mixtape-like narrative ranging from two-minute beat nuggets to full-tilt techno workouts and immersive ambient drops. Every sound is intentional, but the overall delivery is instinctive and curious, showing multiple new dimensions to Paap's sound and offering unpredictability at every turn. 'Arp Amp Chasm' opens the album up in a thick blanket of humming, harmonic waves with an electric emotional charge, while 'Ctrssalms17 (Cold Render)' journeys through evocative blooms of melancholic, gritty pads and rugged, half-submerged tech funk. 'Modern Birds (Origin Edit)' reaches skywards with grand sweeps of dynamic, brilliantly rendered synthesis. From the dexterous drum science of 'Drift Vector' to 'Osc Hop (Slow Collapse)'s lurching, beatless swamp of synths, on Walkman even the briefest snapshots leave an impression that lasts beyond the quick-scan cycle of the modern music experience. With his return to the album format, Paap's message is clear --put your headphones on, get outside and lose yourself in the sound of an artist constantly committed to moving forwards.

East London producer and DJ IZCO announces his debut solo studio album ‘POWERSCROFT’, set for release on 1st May via Brownswood Recordings. The album’s first single, ‘Strike a Pose’ featuring the vocals of Camille Munn offers an early glimpse into the project. To celebrate the release, he will go on a run of UK dates from March to May, culminating at London’s Jazz Cafe.
Named after the road where he grew up, ‘POWERSCROFT’ marks a defining new chapter for an artist who has spent the past decade shaping the sound of UK dance music. Drawing from jungle, broken beat, grime, garage, soul and dub, the album channels the energy of the dancefloor while remaining deeply rooted in memory, instinct and identity. It captures what it feels like to be inside IZCO’s world, where thoughts, memories and influences collide.

Hailing from East London, IZCO is a producer and DJ spearheading a new generation that is bringing soul back to the dancefloor. Shaped by the rich musical heritage of his hometown, he has developed a sound that feels familiar yet forward-looking, diverse yet distinctly his own. That sound has taken him across the globe, from New York to Tokyo, alongside standout sets at We Out Here, Outlook and Glastonbury.

IZCO began his journey making grime beats for local rappers including Capo Lee, Novelist and Reek0, before becoming a key figure in the UK’s evolving garage and dance music landscape. In 2018, he launched his long-running Rinse FM show and released his debut EP Tek 5, earning early underground acclaim. His production credits include PinkPantheress’ breakout track ‘Passion’, created alongside Jkarri, as well as collaborations and remixes for artists such as Katy B and Greentea Peng.
Beyond his solo work, IZCO is a label head, promoter and co-founder of the Brighter Days Family, a collective built on community, craft and cooperation. With ‘POWERSCROFT’, he steps fully into the spotlight, presenting his most personal and fully realised body of work to date. “This album is about channeling my true musical personality and character,” he says. “I’m marking a new chapter by paying tribute to my foundations.”

ACTIVITY FM returns with AFM004, a four-track various artists release that cuts across electro, techno, house and Detroit-inspired machine funk. Each artist brings a distinct voice, yet the EP holds together as one focused statement for the floor: raw, futuristic and full of movement. Stripped-back but powerful, rooted in machine soul yet open to different regional energies and approaches. The result is a VA that feels cohesive without losing the individuality of its contributors, a versatile and high-impact 12” aimed squarely at adventurous dance floors.

ACTIVITY FM returns with AFM004, a four-track various artists release that cuts across electro, techno, house and Detroit-inspired machine funk. Each artist brings a distinct voice, yet the EP holds together as one focused statement for the floor: raw, futuristic and full of movement. Stripped-back but powerful, rooted in machine soul yet open to different regional energies and approaches. The result is a VA that feels cohesive without losing the individuality of its contributors, a versatile and high-impact 12” aimed squarely at adventurous dance floors.

The second season of the funny and heartfelt fiction series by Flo Van Deuren and Kato De Boeck takes us along as Bibi and Ama move on to the next chapter of their lives and into their new, unexpected home: an old daycare building. With school no longer providing structure and their wallets running on empty, they dive headfirst into adulthood.

This results in eight new episodes that, like the main characters, have grown up, yet remain just as hilarious and moving as ever.

With the second season of Roomies, the show’s award-winning music makes its return. This time with a powerful soundtrack featuring Eefje de Visser, Ategha (Ahlaam Teghadouini) & Mickael Karkousse (Goose), Maria Iskariot, and Porcelain ID.

“(Tijdbom) Tikkend” is a dark, electronic track that feels like a constant run: sometimes away from the other, sometimes right toward them. It captures the feeling of running out of time, losing each other, and wanting to reconnect. That push-and-pull dynamic felt like a perfect fit for Roomies, where relationships, drama, and fun are always intertwined. - Eefje de Visser

“Whatever Happens” came together in a very organic way, and you can hear that in the track. Raw, genuine, and effortless. What’s unique is that we hadn’t even met until a few days before. Ahlaam walked into the studio and said, “I’ve prepared something.” That opening line alone was fantastic and immediately showed confidence and courage. “Perfect,” I thought. Then we turned the volume up to maximum, and I listened as Ahlaam sang right by my ear. Instant goosebumps! - Mickael Karkousse

Preston duo White Flowers announce new album, Dreams For Somebody Else - due for release 1st May 2026 via The state51 Conspiracy.
White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings - snippets nestled away on hard drives, only to truly make sense years later.
On Dreams For Somebody Else, the band expand upon the dark-hued dream pop of their debut, channeling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”. Working alongside LCD Soundsystem and Hot Chip’s Al Doyle on production, the album maps out a mosaic of soaring choruses that swirl around imposing arrays of synths, guitars, and percussion.
Through this new lens, the band explore themes of isolation, dissociation and identity - drawing inspiration from Annie Ernaux’s The Years. “Whilst recording the songs for ‘Dreams For Somebody Else’, we really connected with the concept of Annie Ernaux’s book, ‘The Years’ - a ‘collective autobiography’ pieced together from mismatched fragments from her past, conjuring the effect that she’s merely an observer of her own life. This concept merges into the White Flowers world, where time, rather than being restrictive, is fluid and boundless, with our music existing as an endless conversation with versions of ourselves at different stages of our lives.”
“The album has that same feeling of disassociating from your own life, because you’re just blending into everyone else”, the band explains. “There’s a sadness there, because it’s as if you’re looking back on things that happened to you, and they feel like they don’t belong to you anymore”. It’s the dull ache of nostalgia intertwined with a sense of wonder at what could lie ahead - the hopeful optimism and endless loss that defines the human experience. “It’s this idea of identity not being a fixed thing, but something that’s always changing. It’s a fluid thing, similar to time. Things aren’t really fixed, but rather in a constant state of change. It’s important to remember that we’re all going through that.”

Red Axes step into the fabric presents series with a release that feels both inevitable and deeply personal. Known for their hypnotic, psychedelic approach to club music, the Tel Aviv–based duo bring a narrative-driven sensibility that aligns seamlessly with fabric’s legacy of long-form storytelling and forward-thinking curation.

Across years of performances at fabric and other key global institutions, Red Axes have developed a reputation for sets that unfold patiently and unpredictably, drawing dancers into a world where groove, tension, and atmosphere take precedence over genre or trend. Their contribution to the fabric presents series reflects this ethos: a carefully sculpted journey that prioritises mood, momentum, and emotional depth, while remaining firmly rooted in the physical language of the dancefloor.

Formed by Dori Sadovnik and Niv Arzi, Red Axes emerged from Tel Aviv’s underground with a sound shaped by post-punk, acid, krautrock, and cosmic disco influences. Over the past decade, they have built a catalogue defined by raw textures, twisted melodies, and a distinctly human looseness, qualities that translate as powerfully in the club as they do on record. Their releases and remixes for labels such as Phantasy, Correspondant, Running Back, Dark Entries, and Permanent Vacation have established them as artists who consistently operate just outside the expected.

As DJs, Red Axes are celebrated for their ability to stretch time on the dancefloor, weaving obscure selections, unreleased material, and leftfield classics into slow-burning, trance-inducing narratives. This approach has seen them invited to venues and festivals including Panorama Bar, De School, Bassiani, Dekmantel, Sonar, and Primavera Sound, where their sets are defined not by peaks alone, but by the tension built between them.

With the forthcoming fabric presents Red Axes release, the duo deliver a statement that captures years of shared musical intuition and a deep respect for the club as a communal, transformative space. It is a mix that rewards close listening as much as physical immersion, a snapshot of Red Axes at their most focused, expressive, and uncompromising.

To mark the launch of their forthcoming fabric presents album, the duo unveil the lead single, “Hot Rod To Hell”, a bold reworking of Man Parrish and Roy Garrett’s 14-minute spoken-word electro epic, reimagined through Red Axes’ signature psychedelic lens.

Stripped back and refocused, the original’s narrative tension is transformed into a hypnotic, downtempo house track built for late-night immersion. A rolling, elastic groove anchors the track, while pulsing low-end, subtly warped synth lines, and tightly controlled percussion create a sense of slow, smouldering momentum. The spoken vocal elements drift through the mix like fragments of memory, lending the track a ritualistic, cinematic quality without overwhelming the dancefloor.

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

"Let Me Loose" is a dance floor inspired disco jam about cutting loose things that

hold you back. It's a four on the floor jam with a message of taking positive change

and running with it. Don't sleep on this uptempo 7-inch from GED SOUL!

LIMITED to 500

B. Chamber (Stratum A), by B. Close, is the first full length solo release by Los Angeles-based multi-disciplinary artist Brian Close. The first of two volumes assembled from some thirteen hours of music produced by Close while residing in Connecticut from 2021-2025, B. Chamber (Stratum A) offers a vivid, fractal afterimage of a prolific, specific time and space in the artist’s oeuvre.

After leaving New York City early in the pandemic to a farmhouse in the countryside with dedicated spaces for multiple sound stations, Close developed an intensive daily practice of melding with the machines. The vast, pastoral backdrop of rural CT provided inspiration and contrast for his ongoing investigations into dynamic, poly-rhythmic electronic music. The sounds on B. Chamber (Stratum A) range from the machine-modeling of acoustic instruments and natural environments to the utterly unhuman, spinning on the axis between crystalline, pointillist precision and shifty blown-cone distortion. Close’s atypical interpretations of rhythm, noise and other undefined musics land in a hybrid zone of their own.

Throughout B. Chamber (Stratum A), Close’s productions are in perpetual motion. Foxtrot’s shifting hi-hats and disembodied voices rise like cicadas propelled by glitching machines and tangled rhythms, Many Drive draws momentum from dubby stabs and twinkling atmospherics. Character Community’s nimble, drifting snares and erratic static are uplifted by swelling synths, and Mpan’s modular mining forgoes drums but is no less propulsive for it. Acre Voices’ seasick pads and deft drum patterns tap an energizing nerve, and closer 5D Bow’s ambush of pummeling machine gun fire spirals into the tryptamine palace and emerges completely rinsed and refreshed.

Equally powerful in the club as in the outdoors, in the headphones eyes closed or on the move, B. Chamber (Stratum A) grants an immersive temporary trip on B. Close’s unique wavelength, with Stratum B to complete the picture in the summer of 2026.

RIYL - Mark Fell, muay thai, Vladislav Delay, gaming, Errorsmith, modular synthesizer.

+++++

Brian Close (b. 1979, NYC) uses the cold logic of mathematics to trigger states of total sensory displacement. Close co-founded multiple AV studios to explore the "hypnotic"—a ritualistic practice of motional-graphism and improvisational sound. His work is a study in synesthesia and the architecture of trance, using geometric precision to dissolve the sense of time. It is a digital-visceral experience built on heavy logic, designed for large-scale immersion and timelessness.

Close is one half of Georgia who have released records on Palto Flats, Firecracker Recordings, Meakusma, Youth, OOH-Sounds and EM Records, and have a long-running residency on NTS.

B. Chamber was written, produced and mixed by Brian Close.
Mastered by Rashad Becker.
Artwork by Brian Close.

Bryce Dessners Original-Soundtrack auf einem dunklen, dämmerungsblauen Vinyl gepresst.