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"Aporia" is a New Age album from Sufjan Stevens and his step-father and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths' sawtooth waves, "Aporia" approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece. Stevens and Brams recorded "Aporia" over the course of the last several years during Brams' visits to Stevens' home in New York with the help of several frequent Asthmatic Kitty collaborators, including Thomas Bartlett (Doveman), D.M. Stith, Nick Berry (Dots Will Echo), John Ringhofer (Half-handed Cloud) drummer and longtime collaborator James McAlister, keyboardist and trombonist Steve Moore (Sunn O)))), guitarist Yuuki Matthews (The Shins) and vocalist Cat Martino.

Repress

After launching their own De Stijl label last year, Artefakt are back on Delsin with Icarus, a sparkling new four track outing. Known for their intricate sound design and deep yet hard hitting grooves. Always serving up atmospheric music that is artful and filled with rich detail, they continued on their own path once again here. Starting with the smooth and hypnotic, stripped back grooves from Icarus. Followed by the cavernous and immersive ambient trip Ganzfeld Effect. The darker Vapour is still heady and meticulously crafted with deft little details, a rich sound field and supple techno drums getting you in the zone. Delphic then offers crisp breakbeats, dubby drums and electrically charged synths that are physical but emotional. It's another perfect fusion of light and dark, thoughtful and physical techno from this ever impressive pair.

Smokey Purple Vinyl

BITE presents as its 7th release Will To Destroy: a collaboration by Berlin underground techno heavyweights Sarin and Imperial Black Unit. Sarin, the project of Emad Dabiri, previously released on the label last year with the Kuleshov Effect EP and now offers again his bassline heavy groove and sonic signature. Meanwhile, Imperial Black Unit is a technoid duo originally from Toulouse formed by Pablo Bozzi and Thomas Chalandon. With their sharp synths and metallic rhythms on top of growls that could evoke black metal atmospheres, they complete this remarkable record that reaches from slow, new beat alike compositions to peaktime anthems making Will To Destroy an effective ammunition.

Kareem Cali & LaRosa link up for a debut EP on Sidney Charles's hard hitting Heavy House Society this March, while groove master Nick Beringer serves up a superb remix.

Kareem Cali & LaRosa have linked many times before on originals and remixes that have helped define the house agenda in recent years. They have a laid back but warm style that is functional but full of subtle detail and studio charm.

Opener B21 is a brilliantly off-kilter tune with warped synths and tripped out details all making it perfect after party fodder. The drums are driving underneath it all, so will be irresistible to the floor. Over Ground is more stripped back but just as punchy, with rubbery kick drums and squelchy synths making for a hugely dynamic groove that is infectious and restless.

Rubisco label owner Nick Beringer then steps up after establishing himself as a real underground talent thanks to cult EPs on the likes of Raum, Berg and Taverna Tracks. His version is perfectly hazy and dazed. The balmy pads swirl around like a warm wind, the hi hats are delicate as they spin above the kinetic kicks, and the whole thing oozes warmth and class.

This is another essential EP from this already standout label.

James Ruskin & Mark Broom are back as The Fear Ratio with their third album ‘They Can’t Be Saved’.

180G 2x12"

The duo, who are long-term collaborators have created their own signature style with abstract synths, heavy basslines and experimental soundscapes that fit somewhere in between IDM, electronica and ambient.

Their acclaimed debut album ‘Lightbox’ was initially released in 2011 on Ruskin’s Blueprint Records, featuring remixes from Warp aficionados Plaid and Deadhand. Soon after they formed a long-lasting relationship with cult Manchester based label Skam, with the follow-up album in 2015 ‘Refuge of a Twisted Soul’.

2018 saw a four track ‘Live EP’ release made up of exclusive versions of their Autechre supporting slot at the Great Northern Warehouse in Manchester, Several years and various solo productions later, The Fear Ratio return with an album that solidifies their reputation as experimental producers.

From the ethereal opening bars of ‘Sender’ slowly twisting into a brooding dub breakbeat, to the staccato, bugged out atmospherics of ‘Grey Code’, ghostly electronics of ‘Small World’, tripped out, schizophrenic hip hop haunting bass of ‘Game Plan’ and sun-dappled keys of ‘The Final Vision’ Broom & Ruskin flex their techno muscles ever further beyond the floor.

Following on from releases by the likes of Whitesquare, The Cyclist, DJ Octopus and Daniele Baldelli & Dario Piana, Tropical Animals head honcho Ricardo Baez steps up to provide a three track EP of refined, richly textured, deep and brooding cuts.

Undulating synths, introspective chords and a tapestry of rhythms flow from the Florence native, at times moving through the depths of lo-fi, crunching house at others delving into the realms of acid.

Ryan Crosson takes care of the fifth EP on tastemaking Detroit label My Baby Records with a fantastically forward-looking four-track vinyl offering. Ryan Crosson is a complex artistic creature who has roamed far and wide in his storied career. His always innovative music has come on groundbreaking labels including Wagon Repair, M_nus, Spectral Sound, and of course his own Visionquest. Each time he explores a new sound world and draws on things as diverse as musique concrète, Downtown New York funk, and East African jazz. Now he cooks up more beguiling brilliance on this fresh new EP. Opener ‘Speaker Dubs’ is a deep, bubbly rhythm track with dub chords rippling out to infinity. It’s a stylish track full of far-sighted reverence and supple groove that locks you in a trance. ‘Ogilvie’ is a piece of absorbing ambient with found sound recordings of muffled voices that sounds like you’re in an underground station. B-side opener ‘FutureTheory’ is another minimal masterpiece with glitchy sound design and eerie chords peeling off a tight, kinetic groove. Ghoulish voices add more late-night atmosphere and the whole track grows ever darker and more consuming as it unfolds. The excellent ‘OortCloud’ takes you back to the heart of a dance-floor with futuristic menace: the smooth drum loops are militant, the voices are dehumanised and the searching synths speak of a desolate landscape. It’s heady, brilliantly bleak stuff that is utterly infectious. This is another hugely inventive EP from one of the underground’s most consistent talents

Theo Kottis continues his impressive run of form with the sublime ‘Nothing To Lose’ EP, released on his own Beautiful Strangers label on March 13th.

Following an Annie Mac’s ‘Hottest Record in the World’ accolade for ‘Turning Around’, a brace of Mixmag’s Big Tunes and 10/10 reviews in 2019, plus support from many leading tastemakers and DJs, Theo Kottis shows why he is one of the UK’s most exciting producers and regarded as ‘one to watch’ for 2020.

The three-track ‘Nothing To Lose’ EP includes everything from club focused sounds to smooth, soulful melodies. Carefully crafted, the title track ‘Nothing To Lose’ is ready for the dance-floor and described by Midland as “sounds like Floating Points making a record for Afterlife!”. '12 Months' mixes arpeggiated synths with pads and breakbeats to create a perfect peak-time moment. The more chilled sounds of 'Loyal’ showcases Theo Kottis’s impressive range, offering up another stellar groove.

With a forthcoming date at Berlin’s iconic Panorama Bar (22 February) and a Gerd Janson remix of ‘Turning Around’, 2020 is off to an excellent start for Theo Kottis.

The three tracks on "M For" ORBIT01 represent a different path for Natal Zaks under the alias of Picture.

"Milias" is a hard-driven groove, consisting of uplifting stabs and pads, relying on a surface of percussion eternally moving back and forth.

"Malaska" is a melodic trip taking you in various directions with it's enchanting harmony. Synths are ever-evolving and unexpected.

"Main" is an alternative take on the classic ambient B2. It's nature-like atmosphere and crunchy beat, makes your head bop and soothes you.

We promise they'll stick to you for weeks - if not more.

Welcoming the highly anticipated record label from the Reculture team following 2 years of successful London events. Reculture founder Hardt Antoine sets the tone with a 3 track instrumental EP.
The record holds 3 separate grooves and colours linked together by their analogue sound palate and grooving flow.

"The One" was written as Antoine's personal 'handover' track . It begins heavy groove with a powerful backbeat and electronic synths. Following the breakdown the sounds evolve into heavier patterns creating a special moment to let the dancefloor know - they are here to experience something memorable.

Ambre Noir is a sophisticated record with a breakbeat groove, evolving melodic touch. The name is inspired by the dark yet warming colours of the track. Redux's dark, modulated baseline hold in the listener while the progressive trip above takes them to another unique environment - a powerful weapon for a longer DJ set.

Christophe Chassol is reshuffling the deck. After making his name worldwide with three magnificent ultrascore compositions (Nola Che?rie in 2011, Indiamore in 2013 and Big Sun in 2015), working with Solange and Frank Ocean, and playing the most prestigious halls, he's taking his quest to arrange reality even further with Ludi, his new project that includes an album, film and show. It's play - an all-important word in music - that underscores this impressive, masterful construction freely inspired by Hermann Hesse's The Glass Bead Game. Everything is part of the melody: a playground or basketball players in the suburbs, an arcade in Tokyo, a roller coaster, singer Crystal Kay and rapper Kohh. Solo musicians were filmed in rehearsal, like flautist Jocelyn Mienniel and the composer's partner, drummer Mathieu Edward, who managed to reprise on stage

Chassol drew from the great German author's utopic book, where music, mathematics, aesthetics and spirituality intermingle, to create a passionate work produced by Bertrand Burgalat's label Tricatel that once again justifies his special place in the musical landscape.

With Ludi, Chassol directs his own round of Hermann Hesse's game, taking on the title of Magister Ludi, master of The Glass Bead Game. With this double album, Chassol realises his ambition: to compose unprecedented music that fills us with joy and prompts reflection.

Following on from Myele Manzanza's acclaimed 2019 jazz album, 'A Love Requited', we have a 2020 addendum to that project; an EP of remixes by a set of diverse musicians from all corners of the globe.

Detroit legend Theo Parrish starts off the proceedings. Theo & Myele have previously worked together on various projects over the years, such as with live outfit, The Unit, whilst Myele's 'Surgery Session' of Theo's track 'Moonlight' was picked up by The Vinyl Factory last Summer as well. On his remix of 'Itaru's Phone Booth', Theo maintains the tempo & structure of the original track, whilst tempering the horns and adding some spaced-out keys & a little low end theory to the equation, making this a flip seasoned with Theo's unique flavour.

Mark de Clive-Lowe follows with the most uptempo track on the EP, a delightful bruk refix of 'Big Deal'. Fellow New Zealander, regular collaborator (notably on Manzanza's sophomore album 'OnePointOne') and hugely respected musician in his own right, MdCL delivers a hefty groove direct for the clubs; heavy drums & sci-fi synths lead the way atop of the original's powerhouse horns, switching up with some MAW-esque 4/4 tribal business to close out.

Cardiff's finest, Earl Jeffers & Don Leisure, aka First Word label-mates Darkhouse Family, kick off the flipside with their take on the appropriately titled 'Family Dynamics'. Fresh from their solo & combined projects (producing for Kamaal Williams, running house label Melange, and creating beat-tapes like Halal Cool J & Shaboo), the duo turn out some punchy boom-bap vibes which pulsate throughout the track, accompanied by some sweet vocal hooks, transposing the original into a plucky heads-down neo-soul tinged stomper.

Borrowed CS is another New Zealand artist that's been bubbling away in the underground NZ electronic scene for several years now, as a DJ and a musician. He ends this selection of remixes, taking the original jazz components of 'Pencarrow' and transforming it into a synth-boogie lead piece of brooding broken beat - a 'Clear Path Depiction' even.

Released on Worldwide Award-winning UK label, First Word Records, the original album was also co-produced by another antipodean label-mate, Ross McHenry, who released a new album recently.

The son of a Congolese master percussionist, Myele Manzanza's roots in jazz and African rhythm are well established. Adding his long-time influences of hip hop and dance music into the mix, this EP exemplifies his approach to fusion, and his persona as an ever-evolving artist, drummer & composer. Since his days as part of Electric Wire Hustle, he had his debut release on BBE, has released three solo albums, and done tours & collabs with folks like Jordan Rakei, Miguel Atwood-Ferguson, Recloose & Amp Fiddler. Since moving to London from New Zealand late last year, he has already shared stages with Hiatus Kaiyote, The Bad Plus & Alfa Mist, rocked The Jazz Cafe & Ronnie Scott's, and ably demonstrated his DJ side-hustle chops at stations like Soho Radio, Worldwide FM & NTS, as well as behind the decks in a few danceries across the capital, and behind his drum kit daily.

Already hard at work on brand new material, expect to catch Myele Manzanza live at various shows & festivals across the UK & Europe this coming Summer.

'A Love Requited - The Remixes' is available on 12" vinyl & all digital outlets from March 6th 2020.

Fabrizio Lapiana's Attic Music label reaches release number 20 on the main series with a new EP from the boss himself: Collective Chaos features remixes from fellow Italian techno luminaries Neel & Laertes.

Rome's Lapiana has been a vital voice in the global techno underground for more than 10 years now. His Attic Music label has played a key part in that, while his own evocative techno soundscapes have come on the likes of M_Rec ltd, Figure Jams, ARTS and Out-Er. This is his first outing of 2020 and is a superbly stylish techno trip.

Opener 'Crystal' is deep, drawn out techno with perfectly smooth and supple drum programming that soon gets you in a state of hypnosis. Subtle synth loops rise up through the mix as things grow more urgent, and once the percussion joins you're utterly locked. The title track is a more turbulent and edgy affair that sound tracks a dystopian urban wasteland - the synths are riddled with static, the hurried drums are punchy and there is an urgency in the molten synth lines that keeps you right on the edge of your seat.

Sound sculptor Neel runs Spazio Disponibile with collaborative partner Donato Dozzy and has an impeccable knack for sound design. Here he links with Laertes (half of Modern Heads with Dino Sabatini), a Mental Modern and Concrete Records associate who produces artful techno. Together, they remix 'Collective Chaos' into a dark and moody techno roller with glitchy textures and high speed synth lines that sweep you off your feet.

Closing out this terrific trip is 'Koyuk', a Millsian adventure into an intergalactic techno future, with polyphonic synths rippling above a rubbery drum line that is both propulsive and pensive.

This is high grade, perfectly distilled and meditative techno from some of Italy's finest exports.

London based French producer Mondowski follows a spate of recent releases on Relish and Ombra with a new club-orientated vision for London label and clubnight SC&P. Following his remix services on label's debut and 4th releases, Mondowski makes his full lavel debut with an electro inspired turn. Dancefloor orientated lead track Sholay finds a mesmerizing path somewhere between extroverted 80's electro and celebratory spiritual transcendence and gets the remix treatment from Pinkman's Kris Baha who subverts the original by turning the electro backbone up to 11. The EP's B-side, Negative Space, voyages into darker electro territories with Kraftwerkesque synths, rolling pads and a motorik bassline, all of which provides the launchpad for Multiple Man to turn out a pitch black EBM banger.

Drumcode starts 2020 with a sterling EP from genre hero Thomas Schumacher, his first on the label after a long association with Adam Beyer. No ifs or buts, if you’re a techno fan, Thomas Schumacher holds a place in your heart. His 1997 classic ‘When I Rock’ still gets rinsed, he has a vast body of stellar work on his influential former label Spielzeug Schallplatten, including a release from Adam Beyer, and he continues to deliver pin-sharp productions via his Electric Ballroom imprint, including a scorching remix of ‘The House of House’, the 1994 classic from Cherry Moon Trax. The rework was first played by Beyer at Time Warp and has been a 2019 highlight.

He first contributed to Drumcode in 2018 with ‘The Unseen’, a stirring contribution to ‘A-Sides Vol.7’, setting up a maiden EP with ‘Crimson’. Crimson’ is crafted around two minutes of tension-building synths, before a beat finally appears and a rasping deep bassline commands the dancefloor. ‘Feist’ is a no-nonsense brain melter, as 303 arpeggios bloom and recede, creating a thrilling rhythmic intensity throughout lastly ‘Anker’ brings the rave with eagle-eye focus, unleashing a wall of fierce acid to round out off the release.

“Adam and I have both been producing and playing techno since the early 90's. I have deep respect for him as a person and artist. It’s an honour to have the opportunity to collaborate in this way.” – Thomas Schumacher

Tripeo collaborates with fellow Dutch artist Cadans on his self-titled imprint with three original cuts entitled ‘Non Perfect Drone Replication’.

Over the years, Darko Esser aka Tripeo has become a truly respected figure within the techno world. Widely known for helming his acclaimed Wolfskuil Records, BALANS and self-titled label where he’s released an array of his own impressive productions, Darko continues to edge out a corner of the techno sphere through a regular gig and release schedule that’s been of consistent quality for over 20 years. ‘Non Perfect Drone Replication’ marks Tripeo’s first release of the new decade seeing him link up with Dutch producer Cadans who has releases on Clone, Neighbourhood and Hardgroove (when not producing drum and bass as Icicle).

‘Drone’ begins with tense atmospheres and haunting leads underneath the humming percussion and oscillating synths that surge as the track progresses before ‘Non PC’ employs energetic rhythms underneath wavering modulations and spectral tones that keeps this peak-time cut enticing through till the end. To finish, ‘Perfect Replication’ offers up an electro cut that’s peppered with a nostalgic yet modern feel through breaky grooves, alleviating pads and stabbing tones.

“The combined forces of Frederik Valentin & Loke Rahbek first found a way into the world in 2017 with the album 'Buy Corals Online'. Together they now present 'Elephant', an eight-track album that composes an inquisitive space with it's parts.

The economy of movement across Rahbek and Valentin's new collaborative album makes for a gentle transmission of its abstract intimacies. This presence, which we caught glimpses of on their previous work 'Buy Corals Online', is shaped by the delicate interplay between acoustic instrumentation and synthetically rendered sounds. Hauntingly melodic at times, the album feels like a suite of uncanny lullabies that grant access to realities that can only be found in dreams.

Rahbek and Valentin are always leading us somewhere and showing us something—one piece of the scene at a time, coming and going with different parts of a puzzle that eventually settles into a complete form. And through all this we perceive an inviting restlessness on their behalf, encouraging us to stray further and further into the private space of 'Elephant'. Valentin is perhaps best known for his work in the exquisite atypical pop group Kyo, though his widereaching music and videography practices covertly underpin his flagship projects.

Most recently, Valentin has been working with Yung Lean as both producer on his 'Nectar' album as Jonatan Leandoer127 as well as on their commission for Sweden's Cullberg Ballet. As Croatian Amor, Rahbek has made similar forays into unworldly pop and his work with Christian Stadsgaard as Damien Dubrovnik has been as critical as their cofounding of Posh Isolation.

Modest interventions from processed field-recordings and semi-erupting synths invite you to zoom in enough to hear the human hand. An attention to listening, to how sounds cradle the small movements and gestures that naturally accompany the playing of guitar, piano, and viola, is acutely developed by Rahbek and Valentin.

It's in this way that 'Elephant' persuades us that even small stories unfurl into the most intricate and tremendous of sagas"

At the turn of the 80's, a new generation of musicians appeared who saw synthesisers not as dehumanizing machines but as musical instruments that could be coaxed into creating modern, beautiful and decidedly emotional music. It was almost as if the musicians were intentionally creating this music to prove the doubters wrong. 

Compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, “The Tears Of Technology” celebrates this brief period when scruffy synth duos from the provinces broke through and took over British pop. Like mellotrons before them, synths could project a strange and deep emotion; listen to OMD’s ‘Sealand’, or the Human League’s ‘WXJL Tonight’, and it was clear that something in the wiring had an inherent melancholy.

In the 60's and 70's, the synthesiser had mostly been regarded as either a novelty or a threat. Tomorrow’s World warned us that the cold, heartless synth would soon make orchestras redundant. But by 1980, Korgs, Moogs and Rolands were becoming affordable for all, and post-punk had created a safe place for new groups to experiment with these new toys.

The influence of Kraftwerk – who had made a landmark appearance on Tomorrow’s World in 1975 – is all over this collection. Big names rub shoulders with obscurities by Turquoise Days, Electronic Circus and Illustration, all highly prized recordings among ‘cold wave’ and ‘minimal synth’ afficionados. There are pioneers like John Foxx and Thomas Leer, alongside unexpected synth sadness from Simple Minds and the Teardrop Explodes.

“The Tears Of Technology” celebrates an era of electronic melancholia, synthesized intimacies and insights – even Tomorrow’s World didn’t see that coming.

UNCAGE label is back with a bang thanks to a various artists release featuring Stojche, Luca La Rocca, Eric Axelsson, Vincenzo Maurice and Module One.

Macedonian rebel Stojche is first up with his pummelling drum programming and sleek synths peeling off a high tempo groove.
It is dubbed out and propulsive techno of the highest order.
Luca La Rocca - Focus is darker and more stripped back, an eerie final cut that packs a real punch, then Eric Axelsson offers a deep atmosphere with icy electronics dancing above rooted kicks that get you in a trance.

After a twitchy acid banger from Vincenzo Maurice is a digital only cut from Module One that is cavernous, mysterious and hypnotic. This is another high impact techno Ep from the ever reliable 'UNCAGE'.

Welcoming, 'Come Together' - a five track various artists EP drawn from our network of associates locally and internationally. With artists hailing from Japan, Italy, the USA and Australia the 12" features the sounds that bring our families together on dance floors around the globe.Italy's Matisa opens the record with a designer italo-house trip "Garbadine", armed with punchy drums, a warped guitar loop and hypnotic bass line. Melbourne group Polito's "Wallis Axiom" juxtaposes this with a guttural, gurgling outsider-techno piece. Frenetic percs and crunchy distortion collide with alien FX and bleepy modular synthesis for a dark journey.On the flip, New York City master producer Physical Therapy jumps into the deep end with "10000% Pure Love", a raw, hard hitting club weapon. The Allergy Season boss distils the pure, unbridled energy of a sweaty dance floor through a woozy bassline and manic cowbell action. Slowing the pace slightly, Berlin via Japan producer Yuzo Iwata delivers "Acid House" a rugged, growling beast which trips and chugs along as a monstrous 303 weaves in an out of the penetrating vocals "ACID HOUSE". The mysterious Serpent finishes you off with "In The Garden" a syncopated drum workout imbued with a ritualist, primitive energy by the heavily layered percussion and flickering synths.

Canadian born, Berlin based producer Aquarian makes his full length album debutThe Snake That Eats Itselfon Bedouin Records.
This record follows his collaborative EPs with Deapmash as 'AQXDM" and is his first solo release since his 2016 experimental mixtape for Quiet Time. Nearly five years in the making, 'The Snake That Eats Itself' is Aquarian's most complex, diverse and emotive work to date, plunging his trademark UK sound-system/techno hybrids into a self-contained, cinematic universe streaked with heavy influences from industrial, IDM, drone and dark pop music.

It's written in Brooklyn, New York, in a deeply transitional, yet seemingly endless period preceding his relocation to Berlin, the title of the album refers to the Ouroboros, a mythological serpent symbolizing the cycle of birth and death and infinity itself.
'The Snake That Eats Itself' pits Aquarian's most abrasive and brutal moments next to his most wistful and introspective.

Viscerally thick layers of tape saturation envelop the album as sludgy synths ooze against brittle atmospheres; breakbeats fragment, explode and disintegrate into swarms of delay and noise; scorched, metallic percussion - sampled from a year-long demolition and construction project next to his apartment - forge the rhythmic backbone of the album. These elements, however, seamlessly make way to startlingly crystalline and shimmering ambient passages, offering a sense of reprieve and balance.

Emerging this January with a duo of debut EPs, Black (Vegan Tinder Lord) and White (Hexxex) , Ϟᑢrəən ϟHAᗌ/W blends pummelling techno, industrial grit and experimental noise for a mood-spanning sound inspired by everything from Google Street View to visiting the dentist.

The Black EP gleans from the heavier end of the club music spectrum, plunging into a hardcore well of nosebleed kicks and synapse-frying synths that bang with raw dancefloor energy. The White EP pauses for reflection, transforming Screen Shadow's spiky reveries into tightly-woven technicolour dreamscapes.

Track highlights include the humour-spiced, pitch-shifted "Vegan Tinder Lord"—immortalised by its disembodied, Amnesia Scanner-esque voice—and the percussive, hardstyle-tinged assault course of "Scanna Hex".

On it's white counterpart ,"Hexxex" builds on a Drexciyan beat, while "Corridor" explores the sort of glitchy experimentalism that gets under your skin."Vaxuum" and "Time Orphans" mine deep ambient soundscapes, with the former constructed from a grainy loop and the latter built from rich orchestral tones.

Artwork and music go hand in hand, with logo designer Number III (Paul Nicholson, Aphex Twin logo designer ) cooking up the striking black and white imagery.

Calum Gunn has spent the past few years becoming a key figure in the European electronic avant-garde. As well as releasing his own music through labels like Entr'acte, FLUF and Tsuku Boshi, the Berlin-based Gunn also helms Conditional Records, one of the most forward-thinking computer-music imprints to emerge in recent times.

Gunn's Addenda EP, his debut drop for Central Processing Unit, contains some of his most dynamic work to date. While his commitment to experimentalism remains, these four tracks represent a clear shift in focus for Gunn - namely that, for perhaps the first time in his career, he is making music that is club-friendly. A whole host of dancefloor innovators are recalled when listening to Addenda - particularly Autechre, Analord-era AFX and several of Mark Pritchard's projects as well as Gunn's contemporaries Rian Treanor and Renick Bell.

These tracks never sit still, their rhythms constantly evolving and turning themselves over. Addenda's first two cuts use metronomic hi-hats to keep these ever-changing grooves in check. With its thwacking kicks and snares, opener 'Esephony' enters the fray with the heft of an early Wiley riddim. Atop these drums we find squeaky half-melodies interlocking and breaking apart, meaning that the overall effect is not dissimilar to the tweaking beats that Pritchard came up with as part of Africa Hitech. 'Esephony' is followed by 'Moebu', another track that harks to grime through its fluttering lead synth. The way that this single-note line snakes above a slow, steady drum pulse pitches 'Moebu' halfway between Last Japan and rRoxymore.

Gunn increases the tempo in Addenda's second half. 'Ternenmarz' introduces itself with more blarts of bass, but whereas these were steady on 'Esephony' they now jump around unexpectedly. Gunn holds the erratic kicks in place with twittering hats and snares - indeed, when you factor in its gnarly synth lines, 'Ternenmarz' steers closer than any other cut here to the high-grade electro drops that CPU has made its name with. Closer 'Pins' supercharges the snap of 'Esephony' to 145 bpm before Gunn softens up the track with reverb-drenched synths that nod to the sombre post-grime of Mr. Mitch's Gobstopper Records.

With the Addenda EP, Calum Gunn has achieved something that proves elusive to so many producers - making club tracks that are at once innovative and immediate, their experimental tendencies serving to elevate their dancefloor impact.

RIYL: Rian Treanor, Africa Hitech, Autechre, Renick Bell, Brainwaltzera

Emerging this January with a duo of debut EPs, Black (Vegan Tinder Lord) and White (Hexxex) , Ϟᑢrəən ϟHAᗌ/W blends pummelling techno, industrial grit and experimental noise for a mood-spanning sound inspired by everything from Google Street View to visiting the dentist.

The Black EP gleans from the heavier end of the club music spectrum, plunging into a hardcore well of nosebleed kicks and synapse-frying synths that bang with raw dancefloor energy. The White EP pauses for reflection, transforming Screen Shadow's spiky reveries into tightly-woven technicolour dreamscapes.

Track highlights include the humour-spiced, pitch-shifted "Vegan Tinder Lord"— immortalised by its disembodied, Amnesia Scanner-esque voice — and the percussive, hardstyle-tinged assault course of "Scanna Hex". Inspired by the unpleasant act of a dentist drilling a tooth cavity, "Bodies" burrows deep into your brain, while the glitchy experimentalism of "Corridor" gets under your skin.

Across the two EPs, vocals are processed and reshaped into other sounds using the sculpture-primed Nord modulars. These '90s instruments have since been discontinued, but remain a staple in the Screen Shadow studio and the upcoming live setup.

Artwork and music go hand in hand, with logo designer Number III (Paul Nicholson, Aphex Twin logo designer ) cooking up the striking black and white imagery.

British DJ and producer Inland (Ed Davenport) has compiled and mixed 'Stream State', his biggest project to date, bringing together over 20 artists in a DJ-ready compilation of colourful, diverse modern techno on his label Counterchange.

Complete with a 90 minute continuous mix by Inland himself, the project celebrates over 15 years behind the decks and cements Davenport's reputation not only as a tireless force in the studio, but as a trusted selector and curator of contemporary club music. Spanning deep idm-rooted studies, lush chord-driven euphoria, powerful modernist workouts and tough house-groove jackers, Davenport weaves an addictive mix full of character and his precision mixing style.

From veterans and heroes like DJ Skull, Efdemin, Joel Mull, Boddika, Peter Van Hoesen, and Mark Broom (alongside Discrete Circuit), to a new echelon of up-and-coming talent like Rhyw, Sophia Saze, Jamaica Suk, Johanna Knutsson, Aiken, DJ Sodeyama, Perm and Felix Fleer, there's an underlying thread of shimmering production values and close attention to detail in every track. Inland also selected debuts from Berlin based artists Fred Mann and Arbitrage, and welcomes back BNJMN, P. Lopez and Distant Echoes to the label, now in its 7th year of operation.

'Stream State' is Inland's celebration of the DJ mix / compilation format. Enamoured with UK dance music culture in the mid 90s, the burning, illicit energy of early rave mixtapes left a huge impression. Mystical bootlegs recorded at mass gatherings in fields or late night Radio One transmissions captured on cassette - their eternal spirit was absorbed and cherished. Now more than 2 decades later, Davenport has channeled that fascination into this weighty collector's item and a captivating continuous mix.

All 22 tracks included are new and original productions made by some of Inland's favourite artists and colleagues. A network and a community - complied and presented by an artist who continues to demonstrate his longevity and unique voice in the scene.

The long standing and hugely respected label and events company Astropolis welcome Blutch for a new single that comes ahead of his debut album on this same label later in 2020, and includes a remix from Michael Mayer.

Blutch has had numerous releases on the likes Nowadays, Dance Around 88 and Délicieuse Musique, has collaborated with heavyweights like Terrence Parker and Red Rack’em and has received support from NTS and Radio 1. He is a respected talent in France and deals in classy electronica that blurs the lines between dream states and reality, and the forthcoming album will be presented as a gripping audiovisual tale with the help of video maker Romain Navier.

First up here is expressive techno masterpiece ‘Beau Rivage’ which soars on supple synth lines and elastic drum programming. It’s elegant stuff awash with melodic beauty and emotion. Single, ‘Compétition’ which gets an early release on December 18th is another excellently mature and musical track with symphonic synths reaching to the heavens and colourful arps lighting up the uplifting grooves. ‘2014’ is driven by vast, pounding and cavernous drums, with distant vocal harmonies bring an angelic feel to the celestial synths and chords. The final vinyl-only original is the brilliant ‘La Cité Des Etoiles’, which is layered up with pixelated leads, soft chords and found sound percussion samples that fire your every synapse.

Remixing is Kompakt label boss and one of the most revered names in electronic music, Michael Mayer. He flips ‘La Cité Des Etoiles’ into deeply rooted techno that is riddled with claps and synth lines that bright real light. Buy the digital version and we’ll also get the added bonus of ‘Vorlen’, which again brims with fantastic synths, chords and sorting grooves.

This is a fantastic package that more that whets the appetite for the forthcoming album.

Latest Vaerel Records artefact limited to 200 copies, bringing together 5 different visions of the label's esoteric aesthetics. The manager of the label Raar bringing powerful percussion accompanied by samples of "Making of a Cyborg". Newcomer Quelza provides us his signature techno with broken rhythms and intriguing synths, then AWB continues to hypnotize us with his deep techno and finally Zadig & Ruhbarb team up for a tool full of high-speed drums and sharp cymbals.

Cai Bojsen-Møller co-founded the original Multiplex imprint and released his debut solo album A Bit of Something on the label in 1996. Cai is an accomplished drummer and his acoustic talents shine through in his electronic work and 909 skills. Out of the circuit for fifteen years, he now returns in stunning form!

Released as a two part EP, this is the second half of "The Spirit of Man and Machine". The idea behind which, evolved around the point where organic elements meet and elevates the programmed part of the music. Much music today is completely quantized, but to make things flawless, risks the loss of feeling to digital perfection. Emerging from the Danish rock scene in the early 80's, correctness was nothing to strive for. With the formula of analog synths through an analog mixer and the drums and sequences recorded live, with a mindset for the right vibe, Cai's new tracks ties in well with his 1990's productions.

Mark Broom returns to Multiplex to deliver his “Skank Mix” of Cai’s “Decomp” track, which Broom has churned into a massive, deep, thumbing, dub-techno tune. This is followed by the original version - a timeless example of chord-driven, minimalistic techno. On the flip side we find the beautiful melodies of the melancholic “FaxImprov”, before rounding things of with Skudge, who has remixed the track, resulting in his great signature sound for the dark floor.

Tim Digby-Bell, Peter Kriek and Ariaan Olieroock are Cubicolor. In 2016 they released their debut album ‘Brainsugar’ via acclaimed independent label Anjunadeep. Accumulating over 40 million streams, the album won praise from Mixmag, Resident Advisor, Consequence of Sound and DJ Mag, who described it as “a startlingly accomplished debut” in their 9/10 review.

Originally an electronic duo comprised of Dutch producers Ariaan and Peter, Cubicolor became a three-piece band with the arrival of British singer-songwriter Tim in 2015, after collaborating on breakthrough single ‘Falling’.

A published poet and playwright, Tim’s musical upbringing was rooted in playing guitar and listening to Nick Drake. Combined with Ariaan’s encyclopedic knowledge of electronic music and Peter’s love of late romantic classical, created what Clash described as “a beautiful, haunting fusion of ideas.” In 2018 the band delivered, and then shelved, their second album…

“It had twelve tracks, a different name, all the artwork was done and a date was set for it to be released. We got home and listened to it, then called each other and decided to drop the whole thing. The next week we went back into the studio and started again.

We loved the record we made but for some reason, it didn't feel right, so we didn't keep anything, we shut ourselves on the boat in Amsterdam where we work and didn't stop until we'd written a new album.” A year after going back to the drawing board, the trio now presents ‘Hardly A Day, Hardly A Night’.

Inspired by the cycles of time, and the cyclical movements of the planets, the new 12 track record weaves together themes of loss, hope, and acceptance. “There were a lot of moments when we weren't sure we'd ever find what it was we were looking for. On the way, we lost friends, lost loves, battled health issues, lost an album, lost each other and came back together again.

It feels like a lifetime has passed but the world keeps spinning and I guess we knew we would eventually find our strength and make the album we wanted to make.” Showcasing their remarkable production techniques and textured sound design throughout the album, Cubicolor continues their unconventional rise to the upper ranks of the electronic music world.

The band will celebrate the album release with a listening event in London in February 2020, before taking their live show to festivals around the world in the summer.

Their 2016 debut album ‘Brainsugar’ picked up wide spread support including backing from BBC Radio 1's Annie Mac, Pete Tong and Phil Taggart, BBC 6 Music's Nemone and Tom Ravenscroft, Joris Voorn, and Kölsch and accumulated over 40M streams. 'Brainsugar' - Press pickup included Mixmag, RA, Thump, Consequence of Sound and the album was given a 9/10 review in DJ Mag.

Cubicolor are Amsterdam based producers Ariaan Olieroock and Peter Kriek, and British singer-songwriter Tim Digby-Bell. They made the album on Peter’s studio boat in Amsterdam. Ariaan built the custom modular synths, mixing desks and speakers that the band use in their studio - every Cubicolor sound is created from scratch.
They also DJ and release music as 16BL on Anjunadeep. one of the labels most loved and legendary acts, responsible for some of the biggest releases in the label's back catalogue.

We Are The Brave boss Alan Fitzpatrick joins Rekids with ‘Step Away’, a euphorically chargedtechno release featuring two remixes from Planetary Assault Systems.

Having performed across the world at the likes of Watergate, fabric, Shelter and DC-10, renowned UKartist Alan Fitzpatrick has continued to bring driving techno to the forefront of electronic music culture since the early 2000s. With a ream of releases on Figure, Unknown To The Unknown, Drumcode, Hotflush and many more, he now launches into 2020 with his debut on Radio Slave’s revered imprint.

Fitzpatrick’s signature, thundering techno cut ‘Step Away’ opens with spacey toms, industrial kicks, delayed claps, pulsing bass and atmospherically sustained keys.

The hailed Mote-Evolver boss and esteemed remixer Luke Slater serves up two propulsive edits under his Planetary Assault Systems alias with the first remix being otherworldly with reverbed stabs, subtle arpeggiated synths, minimalistic drums whilst the second remix goes into overdrive with analogue beat programming, computerised melodies and a harrowing sub-frequency rhythm.

Houndstooth present ‘S.L.F. Versions’, a set of cutting-edge radical reworks from Aïsha Devi’s widely-praised EP ‘S.L.F.’.

Hotly-tipped Chinese scene stalwart 33EMYBW delivers a thunderous percussion-heavy take on ‘Two Serpents’ and rising Indonesian duo Gabber Modus Operandi overhaul ‘Uupar Theory’ with pummelling kick drums encircling frenzied, swirling synths.

Nordic maverick Varg adds jungle breaks and pitched- down crunch to Devi’s pitched-up ethereal voice, whilst lauded JA collective Equiknoxx Music‘s vibey avant-dancehall version gives shout-outs to Devi from vocalists Gavsborg and Shanique Marie.

In addition to acclaim gained for ’S.L.F.’, over the summer Devi toured extensively, performing at some of the world’s most prestigious and forward-thinking events. At Dark Mofo x Atonal in Hobart, Australia she premiered her new AV show ‘∞E=TRv’, an innovative collaboration with visual artist MFO using light in space and reflective surfaces. Centred around Devi’s transcendence/continuum energy formula and inspired by Planck’s Constant in physics, these special shows have wowed and inspired, as have AV events staged with Emile Barret and Devi’s solo shows, where audio takes centre stage.

Justin Strauss and Max Pask have joined up to form the new project Each Other, who will release their self-titled debut EP ‘Be Nice To Each Other’ on February 7th, 2020 via Soulwax/2manydjs label DEEWEE. While Strauss and Pask have DJ’d together on numerous occasions, this is the first time that they’ve collaborated on a production project.

The EP finds Each Other creating an eclectic range of sounds in the space of just three tracks. The opener ‘Same As It Never Was’ is the most immediate of the set, becoming more hypnotic as the minimalist topline buries itself into your subconscious. The downtempo ‘Burn It Down’ then darkens the mood, feeling closer to a dystopian sci-fi soundtrack than an underground club classic, before the playful and progressive ‘Six Weeks’ up the energy with jittering beats, sparkling synths and a cooly understated vocal.

“What we were trying to do and what we’ve hopefully achieved was to merge our influences with a nod to what many consider to be the ‘golden age’ of New York,” explains Justin Strauss. “You don’t realise that these periods were becoming important markers in history when we were living through them. It only comes later with the added benefit of time. I hope that in years to come, history will find a place for what we’re doing now” - Each Other.

As with all DEEWEE releases, ‘Be Nice To Each Other’ was recorded produced and mixed at DEEWEE.

Brand new Bastard Jazz signing Buscrates comes out of the gate swinging with his first release for the label full of the bubbling, electronic funk he's become known for. "Lost & Found" features the vocal talents of Sally Green over a slappin' bassline, guitar licks and airy synths while "Cruise Control" goes on an instrumental ride with it's heavy drums, catchy g-funk lead and growling bass. Another funky affair from the Pittsburgh producer.

White Vinyl 10"

A new release this winter marks a landmark moment in an important musical story. Way back in little 2009, the label hfn music was born in Hamburg, and made its introduction to the world with the release of the Trentemøller compilation Harbour Boat Trips: 01 Copenhagen.
Founder Tobias Lampe wanted to start a label that was more broad in scope than his previous, more electronic-focused projects, and the compilation provided the perfect opportunity to launch one. In the 10 years since then, the label has survived the whirlpool waters of the early 21st century’s constantly changing music industry, and released everything from pop to art-punk, with artists ranging from New York to the Faroe Islands.
Now, they’re about to put out their 100th release. Fittingly, given the label’s focus on new and innovative music, and the historic aspect of the release, hfn100 sees one of hfn’s best songs of 2019 put into the hands of the man it all started with, Anders Trentemøller. His Danish compatriots Blaue Blume’s new album Bell Of Wool is one of hfn’s standout releases this year, and so hfn100 sees Trentemøller remix one of that record’s standout tracks, the fragile, but soaring “Lovable”.
In Blaue Blume’s original, “Lovable” is an airy, tormented song, a gossamer-delicate composition that carefully stitches together layers and layers of shining synths that gradually build up and up into a peak, before crashing into a subtle beat, a musical journey that mirrors vocalist Jonas Smith’s trip from anguish to numbness. Whereas the original’s music sounds woven together from light, Trentemøller takes it into darker territory. He hooks the song to a harsh, sparse beat leaving Smith’s vocals bare and isolated in the burnt-out, dystopic musical landscape he creates.
Trentemøller mirrors the original’s careful building up, adding new elements to fill in the song’s sound, before it collapses into a tough, noir disco groove. It’s a perfectly realised remix – Trentemøller keeps the original song’s skeleton and soul, but fills in the space with sonic touches that could be no one else’s but his.Ultimately, it’s a fitting song for hfn’s hundredth release. For a label that’s always been a platform for its boundary-pushing artists, a collaboration between two of them, that sees an already innovative song pushed into a bold new shape is the perfect way for hfn to step into the next 100 releases..

"Marble Grounds" is the first release on new Seattle vinyl imprint Rhizome (US). Local live duo JamRat provides the two original tracks "Marble Grounds" and "Neurocare Locale" each accompanied by a remix from Glueped, consisting of Cristi Tudorache aka Melodie and Mihai Mihalcea (Teluric).

"Marble Grounds" on Side A drifts through singing synths and steady percussion, the melody gently arising and humming to the listener before evaporating as the breakdown arrives.

Glueped's first remix of the EP is a cosmically-charged reinterpretation of "Marble Grounds", a dreamlike rhythm providing a quicker pace into lofty synths and a guiding drum.

"Neurocare Locale" is a harmonious hymn fizzing with auspicious vocals joined by a playful synth, provoking ephemeral reflections deep within.

A deep kick and baseline actualize together and announce a dancefloor-ready dive, uncovering a starry remix of "Neurocare Locale", concluding Side B.

Joe Lewandowski started his career by mixing in NYC raves and parties. Back in France, he became resident of Parisian club Garage. He also made a name of himself as a producer by releasing promising EPs that combined house with jazz, afro and italo disco, to create his own musical identity. With this new opus “Egosexual” for Skylax records, Joe Lewandowski confirms his talent by delivering a banger EP that mixes Soulful vocals (He invites the incredible singer Tyve on ‘Egotrippin’ ) with killer grooves and vintage synths to offer modern house anthems. Vinyl ONLY.



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When Air’s Nicolas Godin released his debut solo album, Contrepoint (2015), he channelled the influence of Bach into a rich, resonant and hugely rewarding spread of musical explorations. One soundtrack (A Very Secret Service) later, Godin builds on equally fertile conceptual foundations for the follow-up. Released through Because Music on 24th January, Concrete and Glass is an exquisitely crafted set of variations on architectural reference points: mounted with minimalist precision and delivered with an abundance of pop warmth, it finds Godin in his element, working seductive wonders with poise and style to spare.

For Godin, the album circles back to his formative work as half of ground-breaking French electronic group Air. Revered modern architect Le Corbusier was an influence on the young architecture graduate’s music, notably on his 1997 debut “Modular Mix”. Twenty-plus years later, Le Corbusier featured on a list of modernist architects Godin was invited to compose tributes for, tributes intended to be heard as the soundtrack to site-specific installations around the world.

In its soft ambient pulse and melting minimalism, lead track “The Border” is a perfect entry-point to Godin’s hymns to buildings, arranged and co-produced with Pierre Rousseau. Its levitating synths, vocoder vocals and scudding bass hove into view with understated elegance, all the better to accommodate the discreet slow-build of delicate details within. As with Air, Godin makes gorgeously light work of every angle: this is music that seems entirely unperturbed by gravity, occupying an elevated atmosphere of its own.

Elsewhere, the title-track’s clean synth lines, crisply apportioned arrangements and tender timpani offer another inviting entry-point, sculpted with architectural clarity. While Godin’s vocoder vocals also hark back to Air’s early work, the album accommodates a diverse spread of guest vocalists elsewhere. Hot Chip’s Alexis Taylor guests on the falsetto-soul dream-pop of “Catch Yourself Falling”, one of Godin’s sweetest melodies yet. Oxnard singer/activist Cola Boyy brings soul to the righteously engaged “The Foundation”; the squelchy synths and buoyant grooves burn slow, allowing the stealthy arrangements and message room to resonate. Psychedelic soul singer Kadhja Bonet sings with measured serenity over tremulous synths on “We Forgot Love”, while Russian experi-pop artist Kate NV brings a gracefully aching romanticism to the blissful swoon-pop of “Back to Your Heart”.

Additionally, Australian conceptual provocateur Kirin J Callinan contributes a vocal of restrained drama to “Time on My Hands”, a midnight-drift soft-pop ballad with a silky allure. One of the quickest tracks to record for the album, it emerged in collaborations between Los Angeles (”During some lively sessions in Mac DeMarco’s studio,” notes Godin) and Paris. After he missed his flight home, Callinan stayed in France for a day as the guitar solos were recorded, complementing the song's air of sleek luxuriousness.

Between its title-track and the sultry, smoky jazz stylings of closer “Cité Radieuse”, Concrete and Glass is an album that truly travels, in tune with its global pitch. For Godin, it marks another milestone in a musical journey that began when Air’s 1998 debut album, Moon Safari, became the sublimely weightless soundtrack of its time. For Concrete and Glass, Godin builds on his storied past with tremendous finesse, charm and fluency, opening fresh windows of perspective at every lovingly executed turn.

Following his debut LP in June 2017, Trenton Chase returns with “Planar Array”, a 7 track LP on Artificial Dance. As half of Manie Sans Délire and the co-owner of June records, he’s known for his uncompromising sound that touches a wide range of genres. The release is heavy-hitting with distorted vocals, industrial textures and dagger-like synths, a satisfying array of wave, EBM and experimental music. From Transit Decay with the clunky bassline and depth at its core to the aggressive electronics in Narked. From the title track, Planar Array’s melodic high synths to the dreamy contracting offbeat of Doppler Shift. Trenton Chase brings the smoke out of the machine, progressively getting harder, faster and more destructive.

Italian cult combo CALIBRO 35 release their highly anticipated 7th studio album "MOMENTUM" on January 24th 2020. "Momentum" follows "DECADE" their previous studio album released in 2018 that had marked 10 years of Calibro 35 and it stands out as a new starting point for the project. In the last 10 years Calibro 35 have dug the golden age of soundtracks and they had been to the future with "S.P.A.C.E.", "Momentum", as the band stated: "represents a look at nowadays and a reflection about making music right in the time that we're living".

Inspired by the work of artists such as Tortoise, Jagajazzist, Dj Shadow, Budos Band, Stelvio Cipriani, Ennio Morricone, Sandro Brugnolini, White Noise, Comet is Coming, JPEGMafia and DJ Signify, compared to the previous Calibro 35's full lengths on the 10 tracks that make up the new album, band's instruments and sounds have increased in number and complexity as well as reality.

The music palette is further extended by incorporating even more synths and electronic sounds, but keeping everything true and 100% real, with all the instruments played live and with no presets or programming. The two featurings on the album serve the cause as well. On the first single "Stan Lee", they collaborated with rapper, producer and songwriter Illa J a former member of super group Slum Village and younger brother of the late legendary hip hop producer and rapper J Dilla.

On "Black Moon", the combo from Milan provided the groove for London-based artist MEI. "If Decade was the sum of everything that the band had felt in the previous ten years", Calibro 35 says, "Momentum is the prequel of what you will hear in the next ten".
To mark the new beginning and come full circle, the recordings took place under the expert hands of usual suspect Tommaso Colliva, in the same studio where Calibro released their self titled debut album twelve years ago.

Repress

After recently making an appearance on the 100DSR compilation and having released on Ann Aimee in the past, Area Forty_One now steps up for a full EP on Delsin.
The Dutchman proves himself to be an elegant producer of electro that has a super future soul to it across the four tracks on offer.

First up, 'Nocturnal Passions Part I' skips on snappy drums through an ethereal galaxy lit up with neon trails and twinkling lights. It's a vastly spacious track full of celestial vibes and expert production before 'Reminiscence' deals in more serene pads and glassy melodies and conjures the sense that you are lost floating in deep space without a rudder. It's a beautiful place to be for the way it has no real drive or direction.

Then, 'Freefall' trudges along some heavy, gloopy drums. All around are huge mirrors of melody that shine and reflect light back at you and leave you marvelling at their sheer scale and sereneness. Final track 'Isolated Soul' sure does sound like a forgotten cut from the Blade Runner soundtrack with its sad synths, skipping beats and raining melodies. There's a rather menacing sense of tension pervading the whole track that makes it all the more engaging.

This is a truly captivating and musical EP that exudes a terrifically cosmic and celestial aura.. here's hoping it's the first of many from the still mysterious Area Forty_One.