Suche:the ex

Pilot Talk II is the fourth studio album by New Orleans rapper Curren$y, and follow up to his widely celebrated release, Pilot Talk. Originally released in November 2010, and initially only available on CD & digitally, Pilot Talk II was first pressed on vinyl and exclusively available in the Jet Life: Pilot Talk Collection Vinyl Box Set. For the very first time ever and after much anticipation from fans, Pilot Talk II will be released as a standalone vinyl product, exclusively available for Record Store Day Black Friday 2025 to celebrate the album's 15 year anniversary. Pilot Talk II includes standout tracks such as "Michael Knight," "Famous," "Hold On (feat. Trademark Da Skydiver & Young Roddy," & perhaps one of Curren$y's biggest solo songs, "Airborne Aquarium." Pressed on stunning Purple, Black & White 3 Color A Side B Side Vinyl and limited to 3000 copies worldwide, Pilot Talk II is a must have for any Curren$y or blog-era rap aficionado.

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

Figure is celebrating its 150th release with a loaded triple vinyl compilation, showcasing artists both old and new to the label – a testament to what the Figure sound is today. The cover art has been commissioned from Berlin-based graffiti artist Erik Winkler, whose spray-painted work is adorning the thick triple-pocket sleeve housing three colored records.

The compilation features some important recent additions to our growing roster: both Jancen and Arthur Robert deliver their unique take on tunneling techno, be it searing or psychedelic. And Brazilian shape-shifter Vinicius Honorio carves out his own gliding bass frequencies while A-STS relies classic drum machine bleep hypnosis.

Label head Len Faki’s own energetic appearance echoes his versatile style found on his recent album release. The all-out production featuring strings and quirky synths sits in contrast with Jeroen Search & Decoder - a pairing of veterans, whose minimal hardware sound slowly builds over trippy acid loops. The flipside belongs to a younger generation of producers, namely IGLO turning out a superb techno roller teeming with life and lush with details. The duo of Munich brothers Glaskin already remixed Faki for his Fusion album, their first original release on Figure comes a skillful blend of distorted stabs and deep grooves.

Equally refined but with a harder edge to it, Scheermann practices a dark, minimalist approach where each element gets time to shine for maximum effect. His bleak track is aptly paired with a rare solo release of Obscure Shape whose fractures of a dreamy, twinkly melody make for one of the most emotional moments of the compilation. The final side holds Roman Poncet’s seasoned understanding of groove, balancing perfectly the dubby stabs and vocal chops for a dazzlingly perfect loop. The final tones to this milestone release come courtesy of another of Figure’s bright new voices: Arkan manages to conjure up a powerful sense of progression, where colourful synths converge in harmonies over an effortlessly bouncing beat.

It is a rare moment for an independent label to make to number 150. But to keep finding new talent who help re-shape the signature sound while expanding the family roster, that’s a true blessing. This package shows how Figure is growing and adapting as a label, staying relevant as one of the leading voices in modern techno.

DJ Support: Antal, I Cube, Noel Watson, Colleen Cosmo Murphy, Sean Johnston, San Soda, Takaya Nagase, Tina Edwards, Pete Herbert, Kenneth Bager, Severino, Aaron Paar, Felix Joy, Harri Harrigan, Laroye, Telford, Darker Than Wax, Rocky (X Press 2), Shane Johnson, Dan Tyler, Felix Dickinson and many more

Having previously released selected retrospectives focused on the musical output of Ryo Kawasaki and Joan Bibiloni, NuNorthern Soul has now turned its attention to the vast back catalogue of Jasper Van’t Hof’s pioneering electro-acoustic, Afro-fusion collective, Pili Pili.

The band was established in 1984 by Van’t Hof, a Dutch pianist who began his career in Europe’s jazz scene of the late 1960s, as a way of combining his love of jazz-fusion and the music of North-West Africa. Van’t Hof already had a reputation for combining roles in traditional jazz combos with more experimental and abstract projects. These included a spell in violinist Jean-Luc Ponty’s first band, years spent masterminding jazz-rock outfit Jasper Van’t Hof’s Porkpie, the recording of an all- electronic album (1982’s Visitors), and a celebrated collaborative live album with the great Archie Shepp, Mama Rose.

Pili Pili, though, was another step forward for Van’t Hof. Working with percussionists and vocalists from Benin and Mali (including the now legendary Angelique Kidou) and a string of adventurous jazz soloists (saxophonist Tony Lakoto and trumpeter Annie Whitehead included), Van’t Hof’s collective frequently combined live and programmed percussion, electronic and acoustic instrumentation, and the talented improvisor’s own memorable melodies and impactful solos.

NuNorthern Soul’s retrospective focuses on the most productive and celebrated period of Pili Pili’s near three-decade history, showcasing tracks originally recorded and released on studio albums released between 1984 and 2002. The six tracks on show offer an essential glimpse into the musical gold to be found across the Pili Pili catalogue.

In keeping with NuNorthern Soul’s previous retrospectives, the vinyl version of Selected Works 1984-95 comes with extended liner notes telling the remarkable story of this most unusual of cross-cultural collaborations. These feature extensive quotes, reflections and memories from Jasper Van’t Hof and were written by music historian Matt Anniss.

Demi Riquísimo reveals the latest EP on his Semi Delicious imprint No Given Time featuring collaborations with Tesselate founders The Trip, stalwart of East London's Queer scene Michelle Manetti and Belfast favourite Hammer.

With the signature Semi Delicious sound demonstrated throughout the package, the warm and groove-driven productions are designed with the dancefloor firmly in mind. Opening with the solo title track ‘No Given Time’, Demi sets the tone with lush synth work and lashings of 90s house flavour. Collaboration with The Trip ‘Infinite Room’ follows, with elastic basslines and an unmistakable blend of the artists’ sonic aesthetics, while ‘Only Love’ sees Demi team up with Michelle Manetti for a slice of joyous uplift with dreamy soundscapes. Closing out the EP is ‘Lime House’, in collaboration with Belfast’s Hammer, as the pair bring in prog-style chords and dizzying synths that take you well into the afterhours.

“Collaboration is important because it opens you to new ideas and thought processes while learning new tricks and techniques,” Demi explains. “It’s also a lovely way to bond and build relationships with other producers.”

F_Phono is an artist who has spent a significant part of his life immersed in the vibrant atmosphere of clubs, where he discovered a deep passion for electronic music. Through years of exploration across various musical genres, he found his true voice in a sound that blends Electro and Synth Pop, drawing clear inspiration from the iconic styles of the '80s and '90s. The result is a modern and distinctive sonic identity—deeply rooted in the past yet forward-looking in its execution.

"Santi e Peccatori" is an album that tells a story—one of ancient duality, where light meets shadow, the sacred meets the profane, and the physical collides with the spiritual. It explores the timeless tension between opposites: black and white, yin and yang, raw and ethereal. Through a seamless blend of driving, hard-edged beats and dreamy, melodic textures, this sonic journey invites both the mind and body to move. Each track is a chapter in a narrative of contrast and connection, where electronic music becomes the language of balance and transformation. Santi e Peccatori isn't just an album—it's a rite of passage through the grey spaces between extremes.

Mastered at : BurbiDub
Artwork : Marcos Pedrero

Paul Murphy’s Claremont 56 label welcomes a genuine legend of UK music to its roster – Chaz Jankel, the man whose dizzying musicality and love of soul, funk and disco did much to shape the sound of Ian Dury’s Blockheads band in the late 1970s and early ‘80s.

A virtuoso keyboardist with a deep love of Black American music, Jankel’s arrangements and compositional skills were key to the success of their records, the funkiest of which not only became crossover pop hits – see ‘Hit Me With Your Rhythm Stick’ and ‘Reasons To be Cheerful, Part 3’ in particular – but also saw heavy rotation in now iconic New York clubs including the Paradise Garage and Studio 54.

This continued during the formative years of his solo career, with ‘My Occupation’, ‘Questionnaire’ and ‘Glad To Know You’ (later famously re-edited and dubbed out for nu-disco dancefloors by Todd Terje) all becoming club hits. The great Quincy Jones also covered Jankel’s infectious single ‘Ai No Carrida’, while experimental, club-ready synth-jam ‘3,000,000 Synths’ was also influential during the early years of the electro movement.

For his Claremont 56 bow, Jankel has delivered an all-new workout recorded earlier this year, the simply titled ‘Rhumba Jam’. A typically warm, groovy and rolling affair, it features Jankel delivering infectious, stretched-out Rhodes electric piano solos over toasty bass, clipped guitar licks, warm bass, accordion-style synth motifs and a densely layered Rhumba rhythm. While relaxed and sun-soaked, it also has bags of Balearic dancefloor potential.

Murphy remixes under his now familiar Mudd alias, leaning into the track’s languid Balearic vibe while keeping a firm focus on the dancefloor. Beginning with an enticing mix of metronomic drums and jangly acoustic guitars, Murphy slowly layers up key elements of Jankel’s original – think rubbery bass, rhythmic handclaps, mazy synth sounds and those wonderful, stretched-out solos. It’s a version that pays due reverence to the quality of Jankel’s musicianship, production and arrangement while subtly extending it and reframing it for 21st century Balearic dancefloors.

Y-3003 marks the critical third instalment of the recently founded Y-3000 imprint. Solitary Dancer return as the sonic architects of the runway score for adidas & Yohji Yamamoto's pioneering Y-3 label, arguably their most ambitious collaboration to date. The SS26 Y-3 Presentation at the Palais Brongniart in Paris saw the duo work alongside movement director, choreographer & dramaturg Kiani Del Valle and the KDV Performance Group to present -- ''I'll Meet You At The Horizon'' -- a genre-blurring performance that shattered preconceptions around the traditional fashion runway, again capturing Y-3's vision for the future, and renewing the brand's commitment to transcendent expressivity.

Berlin-based duo Brigade returns with their sophomore effort, having spent the intervening years refining their approach to sample-based composition. Where 2022's "Hard Times, Soft Music" established their credentials as purveyors of comfort food electronics, „Unlimited Dreams Corporation“ finds the pair digging deeper into the archives, constructing elaborate sonic collages from decades of discarded vinyl.The fictional corporate framework, a company peddling bespoke dream experiences, works as an aesthetic guide, appropriate for 2025.

The fourteen tracks unfold with the patience of bedroom producers who understand that the best plunderphonic work happens in the margins. Brigade layers found sounds and field recordings with careful restraint, creating pockets of warmth that invite repeated listening. The broken beat rhythms feel lived-in rather than showy, while the more ambient moments provide necessary breathing room. It's headphone music that rewards attention without demanding it, the kind of record that reveals new details months after initial discovery.

393AD returns to his own Full Range Motion records with 'Singularities EP'! On this EP, 393AD continues to explore the grey-area in between introspective yet driving techno, an area in which 393AD's well-received debut 'Doctrine EP' left such an impression. The Amsterdam-based artist playful use of sound-design and storytelling adaptations of live hardware jams are once more an excellent foundation for his second release, solidifying the distinctive sound of the artist on this young label. Opener 'Gravitational' pulsating beats are a strong anchor for slowly unfolding harmonic stabs and a strong centrifugal energy. Glimmering patterns unfold as an umbrella; a projectile shoots past; the aftermath of a near-collision - there's no running from this mind-gazing adventure. On the same side 'Technological' pushes on with dramatic effect as noise interlocks with serenity. A devious and mesmerizing track. The flip starts off with 'Mechanical', the final clever contribution to this EP by 393AD. Propulsive kicks and startling low-end call & responses manifest infectious hooks and rhythmic interplay. This track is as serious as it is facetious. Finalising this EP is Maasym's remix of 'Gravitational'. Building on the urgent dynamics of the original, Maasym conjures a magical field of rhythm, intertwining the original with his own energetic pulses. Culminating finally in a compelling resurgence of the original's main stab.

DYSTORTION
Extrawelt's Latest and Longest-Brewing Album Lands This December on Cocoon

In this beautiful world marked by rising chaos, sometimes the simplest way to escape its troubles is through sonic relief. Germany's renowned electronic duo Extrawelt will offer exactly that with their 5th full-length album, DYSTORTION, via Cocoon Recordings this December.

For over two decades, the humble duo behind Extrawelt, who shy away from making music for clicks, have been a steadfast presence in electronic music. Known as serious studio and tour-focused artists who craft timepiece albums, each a work of enduring craft, that go on to create atmospheric, out-of-the-box live acts, they've been shaping and redefining electronica since their first release.


DYSTORTION is their most diverse and evocative album to date. Imagined over six years and shaped by a world in flux through COVID, political upheavals, social media, and AI, it reflects the contrasts and twists we've all felt while offering surges of serenity and hope. From brooding tension to playful relief, it moves through different states in an evolved Extrawelt manner.

The album's opening credit, "Grand Départ," as if a cinematic prelude, invites us into a world of creeping bass, an explicitly Extrawelt sound that's synonymous with the "anti-genre genre" they work within. The album's second track, "Clapland," sees Extrawelt joining forces with Jimi Jules, a name synonymous with excellence in electronic music, creating a rare collaboration that is felt in every note. Soon, the mood shifts into softer melodies as heard in "Surrounded By Miracles," "Hope Sounds Good," and "Sir Stringalot," which bring bright euphorics to balance the darker moments in an album echoed by industrial influences. Later, as "Dystortion" (the album's title track) unfolds, we're drawn into something few electronic artists can create: raw emotion. This is a gritty landscape as reflective as it is pulsing, glitchy, intense, and richly textured.

DYSTORTION is a reflection of a complex, divided world, carried through dramatically with Extrawelt's signature techno tension. Like the world right now, it is full of contradictions, surprises, and moments of introspection, an essential listen for fans of mature electronic music that may or may not need a reminder of why, after 20 years, we're still listening.

Syncretic marks the debut full-length from Australian duo Bhairavi Raman, a Western and Carnatic violinist, and Nanthesh Sivarajah, a mridangam player and versatile percussionist. Both artists share a Tamil heritage, a current that hums across the album. Raman, from South India, and Sivarajah, from Sri Lanka, draw lines that connect Western practice and Carnatic tradition. This hybrid is central to Raman’s approach as a violinist, an instrument itself caught between East and West since the late 18th century. Her playing folds history, lineage and experimentation into music that acknowledges inheritance while gently rewiring its circuitry.

Expanding on traditional music can be a precarious practice, but Syncretic never feels heavy-handed. Raman and Sivarajah exercise measured restraint, letting the Carnatic framework breathe even as it is refracted through contemporary tools. Delays, looping, subtle layering and synthesized harmonies tilt tradition into a new light without disguising it.

Even within a contemporary framework, Raman’s rigorous Carnatic training under gurus Sri S. Varadarajan (India), Sri Murali Kumar (Australia) and Sri Gopinath Iyer (Australia) is unmistakable. She captures the spiritual and emotional essence of each raga: on Seven, the playful raga Bahudari becomes both centrepiece and conduit, while on the traditional piece Thunbam Nergayil, drawn from a Tamil poem, we hear a deeply personal iteration, a weeping euphony of mixed emotions hitting all at once. Tradition here is absorbed, expanded and reframed.

Sivarajah’s command of the mridangam, honed by his gurus Sri Jambunathan (Sri Lanka), Sri Balasri Rasiah (Australia) and Sri T. R. Sundaresan (India), is central to his original composition Guardian. He sustains tradition while extending it through layering and sound-spatialisation. The mridangam here functions as both a structural and ornamental force, mapping continuity between inherited form and contemporary sonic architecture.

Syncretic resonates as a space where Tamil heritage, diasporic memory and contemporary practice coalesce. Culture, like sound, circulates, transforms and persists. Tradition is not an archive but living material, a soundworld that lingers in the ears and the imagination.

Audiotech is one of the many visionary aliases of Juan Atkins, the Detroit pioneer widely recognized as one of the originators of techno. Originally released in 1987 on Express Records, "I'm Your Audio Tech" captures a crucial moment in the evolution of electronic music -- when raw machine funk and futuristic minimalism merged to form the Detroit sound. Now, nearly four decades later, this classic returns newly remastered and presented for the first time on Metroplex, the label founded by Atkins himself. The reissue preserves the deep pulse and metallic warmth of the original, giving new clarity to its hypnotic basslines and mechanized rhythm patterns that defined an era of innovation. A timeless piece of Detroit's musical DNA -- meticulously restored for a new generation of listeners and collectors.

The complete collection of her elementally inspired series channelling Earth, Wind, Fire, and Water. Scotland’s own Mha Iri completes her elemental journey with the announcement of her first long player, the Four Elements album – a special vinyl collection bringing together the full force of her Earth (Leader of the Pack), Fire (Elements of Dance), Water (Come With Me), and Air (Fury) EPs. Out on vinyl on December 5, the album marks the culmination of an 18-month sonic and creative exploration through the natural elements that have defined her rise as one of techno’s most commanding new voices. The vinyl release will feature eight stand-out tracks and is pressed on black vinyl and presented in a spined single outer sleeve with printed inner.

Experienced Dutch producer Tom Ruijg rightly won praise for his first 12' as Tracey, Skyfall, which surfaced on Voyage Direct in early 2017. Combining elements seemingly inspired by vintage Detroit futurism, '90s ambient techno and his own love of colourful synthesizer melodies, the EP saw Tracey set out his stall in impressive fashion.
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Compare and contrast, for example, the two A-side cuts. While Testarossa' is far-sighted and spacey, with Tracey wrapping intergalactic electronics and lilting synthesizer melodies around a darting synthesizer bassline and swinging, electro-influenced house drums, Sidekick' is blissful and almost overwhelmingly melodious: all 16-bit new age motifs, head-in-the-clouds electronics and driving, locked-in machine drums.

The contrasts continue on the B-side, too. Many DJs may instinctively be drawn towards Made My Love', whose energy-packed groove (think vintage Chicago jack with a dollop of slick NYC house soul) is peppered with spacey chords, undulating electronic motifs and glacial melodies. Yet the track that follows, the wild and windy electro workout that is Interceptor', is every bit as potent when played over club sound systems. The track's inherent hustle, seemingly the product of Ruijg's darting synth stabs and feverish audio textures, is almost impossible to resist.

In the wake of their widely-acclaimed album Union, JUNO-nominated duo ÈBONY rematerialize on the dancefloor with the otherworldly Shades of Meridian EP, projecting a waking futurist dream haunted by echoes of Detroit techno, Chicago house, South African melodies, and the rich mythology of Ancient Toronto.

Opener "Break My Skin explores a hidden pocket of after-hours techno space-time with an ethereal vocal by James Baley, leading into the tense, disembodied jack of "Forever." Next, "Dull Side First" rides a spectral break through a sepulchral warehouse trip, "RIFT" invokes peak-time witchcraft, and closer "My Daylight" entrances even the most self-possessed sound-and-lighting guys to spam the smoke machine until reality itself is occluded.

And to those who say that working with JUNO-nominated artists proves that Turbo is just a cog in the CanCon cabal, we would like to familiarize you with the facts: Canadian Tire refused to carry our 2023 Bryan Adams remix LP and we have rejected five separate demos from Justin Trudeau's tech-house alias "Arabian Nights." It's called integrity - try looking it up sometime.

Elations Recordings presents "Tairen", an evocative cello recording marking the debut solo release of Melbourne/Naarm-based cellist LEM (Lauren Meath). This deeply personal work is an impressionistic reflection on place, memory and self at the intersection of classical technique and folk sensibility; expanding Meath's lateral, avant garde approach to sound with piano and textural percussion, resulting in a work that unintentionally falls into the post-minimalist tradition.

Conceived as a single piece across five movements and recorded between 2022 and 2024, "Tairen" reflects on memories of a formative place and period for Meath. Each movement scores part of an imagined landscape, mirroring the cliffs and expansive southern ocean of the coastal Otway ranges, remembered and reinterpreted. While tied to a place and time, ultimately "Tairen" is an exploration and expression of self.

Each piece explores this landscape, retaining its own identity while unified by recurring themes, moods and motifs. Meath emphasises restriction in her approach, creating subtly shifting layers of slowly evolving cello lines with expressive unstructured free playing bursting out. In all but one movement ("Bird"), cello is performed in a single take, utilising joined looping pedals on a semi acoustic cello from luthier Paul Davies. Equal parts meditative and expressive, uplifting and melancholic, the instrument becomes a proxy for the human voice creating a work that is intensely beautiful.

While Meath has a background in classical and pop, LEM has always been a more interior, personal project on the boundaries of minimalism and folk; in the past only as a live project featuring only herself, taking a lateral approach to sound through bow, harmonics and voice. While built on this foundation, "Tairen" expands Meath's typically minimal live approach with piano ("Sky") and additional textural percussion. Produced and engineered by James Tom and Danny Smith and with additional percussion from Dylan Lieberman. Mixed and mastered by Cam Parkin.

The beginning of a long journey in search of all the small details we have been fortunate enough to encounter and collaborate with. This is the genesis of Various Details, the first music series that Small Details Recordings is releasing, exclusively on vinyl. The idea is to create a space where different artists can recount their research through music. So, it's time to start the music and hear all the details and nuances that these artists have to offer.

Making his long-awaited return to Spatial, JLM Productions serves up another sizzling andvaried concoction of atmospheric breakbeat goodness.

A1 - Unraveling

Opening with a blissful, playful melody which fades in and out of effects and padwork,Unravelling shows off an insanely crisp 2-step break at its core - definitely suited for thedancefloor with a buoyant bassline rumbling beneath the waves. The track leaps furtherinto life with JLM adding some additional drums to elevate the breaks further still, all withserene, harmonious melodies dancing around in the mix.

A2 - Forced Perspective

A purposeful melody opens Forced Perspective as JLM Productions unleashes a stellarblend of atmospheric bliss with a unique epic urgency. Sci-fi synthwork surrounds anenergetic selection of drums edited with trademark clarity as layers upon layers of synthintertwine dynamic patterns with ease. This is a great example of JLM's expansive suite ofinfluences combining to create a deliciously detailed and unique whole.

AA1 - Surface Scan

Light cymbals commence a DJ-friendly intro to the second track, Surface Scan. Bothrousing and deep, smooth padwork leads into a drop which brings with it long, whooshingmelodic synths and crunchy stacked breakbeats. As the atmosphere develops, JLM addsin a bunch of effects and subtle, sumptuous sci-fi synthwork, strings and more to completeanother masterpiece from a true pillar of "old school brand new" methodology.

AA2 - Mixed Motive

Straight into a serving of subdued breaks perfect for the intro, JLM rounds off this stunningEP with Mixed Motive. This is a track which explores the atmospheric drum & basslandscape in style. Our creatively-edited breaks soon evolve into a crescendo of joyousdrum patterns with an old 720-style stabby melody punctuating the mix while deep &melodic basslines jostle below, adding dense texture to a stunning piece of music.

Words by Chris Hayes (Spatial / Red Mist)