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One year after its original release, the Placid Angles album Touch The Earth is being remixed by an impressive array of artists from the extended Figure family. With John Beltran being a distinct voice within the electronic music scene for over thirty years now, Figure is thrilled to reveal a whole LP’s worth of reinterpretations, including two works by the original artist himself.

Opening up is Marcel Dettmann, who seamlessly has integrated the lush soundscapes of the original album into a beat-driven but equally serene journey. Picking up on the LP’s underlying dark garage tropes, Planet Mu headmaster M-ziq infuses his rework with even more rolling drums and ethereal vocal chops. The also inherent IDM roots of Touch The Earth have been kept close by Warp-veterans Plaid who deliver a shuffling flurry full of horns, synths and syncopated rhythms. More straightforward interpretations include Dauwd’s dazzling piece of feathery, fast, atmospheric techno; a gorgeous melodic house remix by Baltra and Cassy who turns in a rigid UK stomper.

Amidst all the reworks, John Beltran himself makes two appearances across the record. As Placid Angles he adds another heads-down percussive/ambient swirl, which represents exactly what the producer has been hailed for since more than three decades now. His own remix finishes the record on an epic note, with an organic drum track that celebrates life and the necessity for communal gathering in order to dance.
Beltran’s own additions to this LP are like the essential glue that makes it all bind together, forging the old and the new into something equally exciting as already intimately familar.

Four years in the making, Duct Tape Project is the new brainchild of Tripmastaz in the realms of Trip-Hop and Downtempo. And it's a project that makes perfect sense to anyone familiar with Andrei's background (making Hip-Hop beats since his teenage years), musical capabilities and decades-long experience. Duct Tape Project joins Andrei with a troupe of stellar musicians not only from many different corners of the world but also from acutely distinct genres - Guti, Argenis Brito, Mad Dim, Denis Kaznacheev, Krussia, Damien Vandesande of DOP, Sarkis Ricci, Andrey Orenstein, and vocals by Inga.

Featuring all sorts of live instruments, drum machines, synthesizers and modular systems, Duct Tape Project brings forward a complex work brimming with musicality. Using Hip-Hop, not only its rhythmic structures but also its sampling techniques, as a foundation, Tripmastaz created a vibrant and fascinating ecosystem with enough sonic texture to leave one captivated, enraptured and lost at the edge of words. There are 13 musical compositions in total that explore all things Hip-Hop, Downtempo, Trip-Hop, Chill Pop and Lounge, forming a cohesive and deeply soulful album.

A journey with 4 itineraries, in a constant évolution between the old and the new, Very strong use of old synths and subtle touches of new sounds.

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Tacit Group is an audio-visual group founded in 2008 with a vision of creating new art for the 21st century. Based in Seoul but working globally, the group comprises composer Jaeho Chang and electronic musician Gazaebal(Lee Jinwon).

With audio-visual art as its core content, Tacit Group has expanded in a contemporary and experimental way in multimedia performances, interactive installations, and music installations. Representative works such as ‘Hun-Min-Jeong-Ak,’ ‘Game Over,’ ‘Morse ㅋung ㅋung,’ combine a systematic worldview weaved through intuitive materials and technology inspired by normal everyday activities such as games and text chatting. In particular, works that utilize the beauty and communica- tion power of characters are among their most striking.

“It’s like wind chimes,” says Tacit Group’s Jeaho Chang. “The creator makes the pipes, but the wind makes the music.” He’s talking about the algorithmic music that Tacit Group creates. Jaeho and Gazaebal create audio/visual systems using code that the pair work within to unleash their utterly compelling AV performances, each show, each track, as unique as a snowflake. The pair met at Korea National University of Arts in 2006. Jaeho Chang was a media installation artist and composer who’d studied classical composition in Korea and electronic music at Den Haag’s Conservatoire. Gazaebal, who’d moved to the US as a teen, had worked at the renowned Quad group studios as a sound engineer, recording acts including Rage Against The Machine, Wu Tang and Janet Jackson. Returning to Korea, he had found success as a K-Pop producer, (founding the act Banana Girl, and writing their No.1 Korean hit ‘Shake Your Ass’) and DJing under the moniker Gazaebal, before deciding to go ‘back to school’ to learn to create more challenging music.
The quiet and reserved Jae and the more outgoing Gazaebal bonded over a shared vision, forming Tacit Group in 2008. And until recently, everything they have done has been through the medium of their globally acclaimed live shows, playing all over the world from Lincoln Center in NY, the Museum of Contemporary Art in Chicago, MMCA (National Museum of Modern and Contemporary Art) and Nam June Paik Art Center in Korea, Aarhus Festival in Denmark, Stereolux in France and NYU Abu Dhabi.

Each show an utterly unique and compelling event, a synthesis of music and visual art that has echoes of the concept of synesthesia: “we love the idea that the audience can ‘see’ the music.” says Gazaebal, “the way that you can hear a painting like Edvard Munch’s ‘The Scream’.” The frameworks and systems are created in advance using code such as C++ and max/M- SP(sometimes combined with analog and modular synthesizers), often growing out a of a simple idea (one of their first composi- tions, ‘Game Over’ explored the idea of a Tetris gameplay as a musical score) while on stage the pair react to the audience, creating new inputs and variables that can lead the performance in ways that are unexpected and even self sustaining - some of their installations could in theory continue to evolve and run on into infinity.

For Tacit Group, the process is as important as the outcome, and every bit as fascinating for the audience, who’ve been known to react like the crowd at a rock band gig to tracks / installations like ‘Hun-Min-Jeong-Ak’ which sees abstract geometric shapes based on the Korean alphabet evolve (through the process of live text interchanges between the pair) to become almost an immersive call and response.With that in mind, the duo have long been reluctant to commit to the idea of releasing via a ‘fixed medium’ it was actually the release of an acclaimed (and beautifully designed) book Tacit.print0_Anthology that convinced them to share their work more widely through an album.

Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

The fast rising FUTURA imprint from Leon, releases its new release from Mexican DJ Producer Mike.D with stellar remixes from Len Lewis and Do Or Die to complete the package .



Salomon Records founder Mike.D hails from Juarez Chihuahua, and is considered one of the new generation talents of DJs and producers from northern Mexico. His music selection and mixing abilities have given him the opportunity to play at the legendary Mexican venue Hardpop for many years. As a producer he’s released on labels like Kanja Records, Kina Music, The Lab, Dream Culture and more which has cemented his place in the scene. His music is regularly supported and played by the likes of Arapu, Sepp, Cosmjn, Maher Daniel, Mihai Pol, Sublee, YokoO and more.


For his debut release on Futura, he drops 2 originals the first of which is the title track ‘Mente Trascendente’. An edgy minimal deep tech house track with a grooving electronic bassline, deep atmospheric pads, classy beat pattern all combining to create an elegant 8 minute journey. The second on the package is Len Lewis’s remix of ‘Mente Trascendente’. Len Lewis released his first track back in ‘93 on Jumpin & Pumpin, which then led to records on the likes of the legendary Swag. Lewis’ designated name for his sound is, SiTH, Sinister Tech House, claiming its mysterious name after a Mixmag reviewer used this description for his music many years ago. His remix fits this name perfectly, powerful low bassline drives the track effortlessly, and smooth breakdown combining with eerie incidentals and pads, treated vocal cuts providing the signature hook for the track. This is a remix that’s perfect for the heads in the scene.



Next up we have ‘Sendero Interno’. The original mix is a pure minimal work out right from the outset. The stripped back and delicate beats use popping sounds for filling the frequencies, and work perfectly against the backdrop of the brooding pads and synths make this an classy introspective underground track, which is everything the Futura label is about. To round things off we have the final remix which comes from My Own Jupiter DJ Producer, Do Or Die. Well known for producer techno and electro the fast rising producer, delivers an acid house sci-fi esq work out on this remix with punching beats cutting through the mix, whilst retaining the brooding synths and samples from the original and adding in some special vocal cuts to keep this remix unique and perfect for the floor.

Three years after he released the incredible New Experience EP (picking up plaudits from Bill Brewster, Tim Sweeney, Laurent Garnier, Horse Meat Disco, Leo Mas & 6Music’s Tom Ravenscroft, among many more), Tokyo’s Kota Motomura returns to Hobbes Music for his debut LP, Pay It Forward. This is the first vinyl release on Hobbes Music since the much-loved ‘Aranath’ EP by Leonidas & Hobbes last Spring. While the label maintains the level of quality control for which it has become recognised, the artist continues to subvert electronic and dance music norms in his iconoclastic way on this extraordinary record.

He’s a mysterious character with an ear for idiosyncratic music that runs the gamut from ambient, exotica and jazz to disco, house and techno via post punk, new wave and funk. It’s highly original and all adds up to a confection perhaps best described as ‘Balearic’.

Album opener Paradise is a certified jazz-funk JAM. Destined for dance floors worldwide, this one’s been dropping well with DJs, Motomura demonstrating his piano chops alongside Mutsumi Takeuchi’s sax. Tropical pushes the boat in a more rhythmic direction, some pretty wild drum programming laced with more sounds of the, um, tropics, before mad vocal yelps suggest something yet more tribal. To Be Free initially resembles early 90s progressive house (pulsing bassline, synth-driven melodies), before the arrival of some new wave guitar licks a la classic Talking Heads/David Byrne and ooh ooh vocal chants take it to another dimension altogether.

B-side opener Emotion features Takeuchi again (on flute this time) and more vocal chants before things take a dramatic turn, threatening to open up into a full fanfare before calming and then bursting into wild life again with the exhortation that “C’mon, everybody dancing!” Rhythm flirts with an energy and pace more akin to a techno record: drums, drums, more drums plus a fair few yelps and chants - the kind of DJ tool that will send a simmering dance floor wild in the right hands. Flower closes things in a more melancholy style, familiar to fans of ‘Aboy’ from the New Experience EP, with plaintive acoustic guitar (performed by Akichi), birdsong and big piano chords.

Support from Bill Brewster, Leo Mas, Al Kent, Red Rack’em, Nick The Record, Phil Mison, Phat Phil Cooper, KZA, Sean Johnston (ALFOS), S/A/M, Dribbler, Joe Muggs, Monolith Cocktail and more…

‘Gonna review in MÜ mag... very fine stuff!’ JOE MUGGS
‘Will be reviewed on the blog’ MONOLITH COCKTAIL 
BILL BREWSTER played Flower on the DJ History podcast #641 (25.3.22)
'I really like this album, Flower and Paradise are my favourite' LEO MAS
‘I like Paradise’ AL KENT
‘Woo this is tasty. DEFO playing on my next radio show. The label’s A&R is defo getting better and better. HM has been putting out some dope stuff and this one seems really good quality’ RED RACK’EM
‘Paradise and Flower sounding good’ NICK THE RECORD
‘Tunes sound great!’ PHIL MISON
‘Going to include Paradise and Flower on my Sunday Ibiza global radio show PHAT PHIL COOPER (Nu Northern Soul)
‘Very nice album with influences from many different genres. I especially like To Be Free with nice synths and guitar cutting, and Flower, which is a chill vibe’ KZA (Mule Musiq, Endless Flight)　
'100% correct about the ALFOS potential of To Be Free!' SEAN JOHNSTON (A Love From Outer Space)
'Stunning, will fit perfectly with the vibe of my radio show’ S/A/M (Music For Dreams, DK; Playa Del Sol, Ibiza)
'Stellar work, i'll make a bet that Flowers is a Balaeric classic this summer' DRIBBLER (Breakfast Club, Ibiza)
‘It's cool in a nice smelling psycho sense, it was a very DEEP sound that I couldn't produce. Congrats!’ ALTZ (Altzmusica)
‘Paradise is my jam, it's deep, sunny and never boring. I'm interested to see how this will work on the dance floor. Overall a great album with solid composition and impressive use of live instruments!’ SOBRIETY (fka Chloé Juliette)
'Very tidy selection' ASTROJAZZ (Kelburn Garden Party, Wee Dub, Samedia Shebeen, Disco Makossa)
‘This is a lovely release. Follows on from New Experience in the best way possible. It's got lots of vibes going on but holds together as a cohesive piece of work. Love it’ JAMIE THOMSON (La Cheetah, Glasgow)
‘To Be Free is a track i could imagine Andy Weatherall playing in one of his sets at A Love From Outer Space’ KIRSTIE PATON aka She-Bang Rave Unit (Threads Radio, Radio Magnetic)

We're here with the 14th vinyl release in our catalogue. And those of you who've been following us since day one can probably tell that it's something both new and quite familiar. How so? Well, because this particular record features a brilliant track released on CD ten years ago (!), as part of our "Mystical Deep Vol. 2" compilation, but the "new" part here is the two completely fresh remixes by two amazing artists. So let's get to the names, shall we? As for the track in question, we're talking about "Leagues Deep" - a forward-thinking half-stepper by two heavyweights known as Loxy & Resound. The track has been making waves for quite a while, and has finally reached the light of day on vinyl. As mentioned before, it is accompanied by two remixes. One is by an up-and-coming talent going by the name of AM94, who turns the original version into a dual narrative, so to speak: the first half is a proper action-packed syncopated roller, the second half - a more modern, deep sub-laden half-tempo interpretation of it. The other remix is brought to you by no one else than Resound himself, who's transformed the original piece into a breakneck-paced drum-focused killer. But do watch out for the bassline too - it takes absolutely no prisoners. You've been warned.

Sampled by Dr.Dre and Jay-Z, cult combo CALIBRO 35 release the new studio album "DECADE" and celebrate 10 years.

Italian super cult combo CALIBRO 35 release their 6th much awaited studio album "DECADE" on February the 9th 2018. "DECADE" marks 10 years of Calibro 35's releases and it's the very first album recorded by Calibro with an orchestral-inspired enlarged line-up that features horns, strings and percussions. Mixed and recorded by CALIBRO's usual suspect and Grammy Award winner Tommaso Colliva, on the album all the influences collected by the band during their last ten years' journey like music, collaborations, movies, gigs, books find their space. "DECADE" is CALIBRO 35's "time capsule" and is as rare and complex as a timeless work.

Musically CALIBRO 35's inner influences like Ennio Morricone, listen for instance to the epic journey of the album's end credits "Travelers", Luis Bacalov and David Axelrod are still there but are now mixed with elements from afrobeat or cosmic jazz. "Psycheground" sounds like Tony Allen involved in writing a score for a vintage Hollywood production while Sun Ra lurks on "Modo". Everything is mixed up with new influences from modern musical languages. References to Jaga Jazzist, Budos Band or Alternative Jazz and Alternative Hip Hop new acts such as Makaya McCraven, Yussef Kamaal, Oddisee can all be found on the album. In tracks such as "Modulor "you realize that Decade is certainly not a point of arrival and expresses the ambition of the band to look further and evolve. All classic Calibro's vintage instruments such as clavinet, eco, analog synths, fuzz guitars are now supported by new ones such as Dan Bau, Balafon and Waterphone ("Polymeri") in the band's new wall of sound. Thanks to the enlarged line-up and the orchestrated parts involved, which pushed the band to experiment new methods of composition, Calibro 35 on "DECADE" sound strong, full and tight as never before.

Active since 2008 CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. During their ten years career, they have been sampled by Dr. Dre on his Compton album, Jay-Z Love Child & Damon Albarn, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as "the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Estupendo is an alternative electronic band from Buenos Aires, Argentina, formed in 1993. San Antón presents newly remastered versions and bonus tracks from the pioneering album Bistró Málaga-originally released only on CD in 1994.

“San Antón” is a two-disc mind-bending collection of dystopian sci-fi electronica from the spaciest Buenos Aires-based legends Estupendo, reawakened and curated for the first time on vinyl by “The Pressure Company“. The record features a surreal tapestry of illuminated synthesizer layers, processed guitars, ample use of echo, blended watery pianos, and hypnotic soundscapes.

A perfect storm of catchy melodies along with a whole cosmos of ideas and dance-culture references packaged in a bundle of underground hits.

SlothBoogie Records welcomes Deep House maestro DJ Aakmael onto its roster this March with ‘The Hardbody Project’ EP, comprised of four original compositions from the Richmond, US-based artist.

Across the past decade and a half DJ Aakmael has unveiled an impressive back catalogue of soul-drenched, dynamic deep house via revered imprints such as Uzuri, Church, Scissor & Thread, Freerange and Second Hand Records amongst many more. Here we see his latest material perfectly interlace with SlothBoogie Records own impressive back catalogue of bumping house and raw deep cuts.

Leading the release is ‘Hardbody’, laid out across seven minutes with chopped brass samples, bright key sequences, modulating Moogesque resonant leads and shuffled drums before ‘Track 166’ shifts focus over to a deeper aesthetic via dubbed out chord swells, organic percussion and twinkling piano melodies.

The aptly named ‘Deepshyt’ opens the flip side, as the name would suggest employing an amalgamation of deep and entrancing synth work, crisp drums and spoken word vocal chants. ‘Strobe’ then rounds out the release with a more disco-tinged House feel, fusing together funk guitar licks, cinematic strings and a snaking bass groove atop Aakmael’s signature swinging rhythmic feel.

After an excursion through deeply introspective sonic lands, Subtil is back to their usual club-oriented business, introducing Romanian artist Leanca for a two-track EP of minimal-leaning yet distinct moods.

The A-Side "Bra Manika" is a straight-to-the-point albeit hypnotizing dancefloor tune where the groove is king. Its leading hook revolves around a wonky bassline and a handful of quirky synth stabs, coupled with a trippy vocal sample that creates the perfect atmosphere for dancing hypnotism. The B-Side "I Know You", which carries the name of the EP, explores a much darker and experimental vibe while retaining the same rolling groove from the flipside of the EP. Synth noises are replaced by authentic sampled sounds, programmed in detail, giving it an almost cinematic touch.

Once in a while a record causes such a wave of excitement, it brings new vitality to dancefloors and generates fresh enthusiasm for the underground scene. ‘Without You’ is one such record, brought to life by the great talents of Art Department, a duo causing deep tremors due to their pioneering use of quivering bass, haunting vocals and fiery kickdrums.

The A side features the vocals of techno’s wonderchild, Seth Troxler, as well as Kenny Glasgow (one half of Art Department), his voice a major element of what makes their records so special. ‘Vampire Night Club’ layers the duo’s trademark synth sounds with an eerie and skin-pinching atmosphere. A truly mesmerizing record that gives the perfect introduction to the Art Dept sound on Crosstown Rebels, pre-empting their debut full length album on the label next year.

The double A and title track ‘Without You’ combines that unforgettable seductive bassline with a lingering vocal call. This record could have been made in the future as much as the past, its simplicity and depth the key to its appeal. Calls for its release have been heard for months and now have been answered with an extended 12” mix.

Art Department is the brainchild of Canadian duo Jonny White and Kenny Glasgow. With musical credentials dating back two decades, together they have constructed their own take on contemporary house music that has caught the attention of some of the leading figures of the current movement. With an album slated on Crosstown Rebels next year, this single is the first in a long line of raw futuristic bullets destined to cause a storm with an international audience.

Pure product of the Neapolitan scene, Fabrizio Fattore turns up on Cosmocities Records with his third solo effort. Comprised of two originals on the A-side, and two bespoke revamps from Vince Watson on the flip, this new EP from Fattore draws a direct bridge betwixt the idyllic coastal flow of Italian boogie and straight out pulsating alien disco, sure to keep galaxies bouncing in good order.

Clocking in first is the vibey, otherworldly 'Lyle' - a cross-pollinated ode to the healing power of laid-back, 80s-informed house, bristling with shimmering Casio synthlines and Cuban jazz-friendly pianos and drums. Heliotropic by nature, Fattore's sound sits half-way loungey summer atmospherics and trailblazing post-kosmische jaunts. Then comes 'Island Goddess', casting more of a Sino-Caribbean flavoured spin on the dance floor with its obsessive miss-mash of processed chimes and prismatic webwork of steel pans.

On the B-side dwell two versions of 'Lyle' by true house legend Vince Watson, each of which deliver in their own right. If you’re after a proper classy, straightforward roller, bound to take dancers into a ravishingly deep but rousing trip, then the 'Watson Reshape' fits the bill like a glove, whereas the 'Balearic mix' does exactly what's written on the tin - ushering you into a sense-soothing haven, where keyboard-laden escapism and Afro-style rhythms meet the elegance of muted chamber music.

The Tel-Aviv centered Yotam Avni officially joined forces with Stroboscopic Artefacts last year, turning in a sensual an invigorating entry for the Monad series. Thanks to his personalized fusion of esoteric and worldly sound elements, Avni immediately made a case to deliver more work to the label, and now he has done so with 'Perlude to Dybbuk,' the second in a new series of S.A. releases to feature the Oblique Artefacts visual team's distinct, elegant portrayals of scanned foliage. As with Avni's previous Monad contribution, the new Perlude to Dybbuk makes references - both in title and in sonic content - to the ancient Hebrew folklore of his homeland (a 'dybbuk' being a kind of limbonic spirit attaching itself to the body of a living human until it has successfully reached its final destination). However, the atmospheric, rather than overt, use of these references gives this record a level of dignity and quality as well as a premonitory feeling that hovers over the proceedings.The opening 'Avka (New Life)' opens with the twin stimuli of chthonic, rolling percussion and ambience that has become a modern Stroboscopic tradition, but ever so gradually deviates from the realm of the easily anticipated. Some of the surprises to be found here are sharp, organic drum fills and sighing strings that have an uncanny vocal quality to them. By the time a surgically clipped acid synth sample comes into the mix, the track has reached a simmering level of excitement and the listener's imagination will have license to reside in a virtual world seamlessly combining elements both ancient and futuristic.Dybbuk' temporarily situates listeners back in brutal modernity, with the first sounds heard being something like insistently slicing helicopter blades. Avni merely uses this as the foundation, though, for a genuinely unique construction whose shamanic beats, throttled horn and undertow of frenzied electronics combine to give the feeling of being menaced and eventually overtaken by a spirit entity. This piece shows just what Avni is capable when operating in a more aggressive, 'post-industrial' mode, and the result stands up with some of the best exponents of that genre.The finale 'Modern Matters' is the most readily club-friendly selection from the disc. This potent, floor-shaking and perspiration-inducing number superimposes resonant vocals from traditional Middle Eastern folk song onto this alchemical mixture of machine oil and sweat, and provides a romantic flair without resorting to naïve, touristic 'ethno-techno.' Avni's skillful dedication to counterpoint, and determination to make a finished form is more than the sum of its parts, shines through here and throughout the duration of this record.

Clear Green Vinyl

Prolific Colombian producer Felipe Gordon returns to RNT to deliver his first offering in a two-EP and album project series.

The records kicks off with the swingy Strings of the Afterlife, evoking classic Chez-N-Trent vibes and moves to the sultry emotive tones of The Fall of A Withered Empire. On the flip, Felipe takes us into high gear with the hypnotic looped synth groove and relentless beats of Clásico, and lets us down easy with the jazzy lilt of Julia y Luis. A truly standout EP, even for Felipe who delivers quality time and time again.