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A new piece by Australian artist Tarquin Manek, devised in collaboration with poet Martina Quake of Canvey Island, UK and recorded at M.E.S.S. (Melbourne Electronic Sound Studio), utilising EMS VCS3, Oberheim OB-Xa and ARP 2600 in combination with cheap, contemporary consumer electronics. It is, to all intents and purposes, a short, cautionary story about love. It is also a folk-tale, a science fiction, a suicide note. Unusually for a long-form spoken word piece, it is immediate in its impact, and lasting in its effect. Our narrator is damaged and unreliable: Quake's voice, digitally processed into a flat, AI affectlessness, conveys this all too well. Is this the vernacular poetry of the Uncanny Valley, or is it just that loss makes robots - numb and listless not-quite-humans - of us all Locks revels in the space between the spontaneous and the programmed (what is a poem if not a programme). It's part Tales Of The Unexpected, part Susan Howe, part Ruth Rendell, part HAL (or Holly). Manek's music is widescreen but understated...a becalmed landscape populated by distant drones, just-out-of-focus field recordings, and phased, minimalistic, Rhodes-style keys. A sort of sombre, lunar jazz. Space-age bachelor pad music, maybe, for a bachelor at the edge of space and the end of his tether. Just as Quake's words are cumulative in their tragedy, so the music grows more agitated and turbulent, at certain points harking back to the smoked-out psycho-acoustics of Manek's 2015 Blackest Ever Black LP, Tarquin Magnet, and his work in F ingers with Samuel Karmel and Carla dal Forno.

Having made her mark on Brazil's rich musical legacy with three best-selling albums to date, Rio's original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music. From the spiritual swing of the early pioneers of modern Samba, to the dizzying hedonism of Brazil's eighties disco/boogie craze, Clareia is a life-affirming journey through the rich and varied sounds Sabrina Malheiros has been immersed in since she can remember. For her most up-lifting and danceable album to date, Sabrina has (as always) enlisted her father Alex Malheiros - bassist of samba jazz-funk legends Azymuth - and visionary London based producer Daniel Maunick (aka Dokta Venom), son of Incognito's Bluey.

Sabrina Malheiros' career has often been characterised by her place in the succession of those special Brazilian women who, with unmistakable talent and effortless grace, have encapsulated the magical energy of Brazil with their voices. Elis Regina, Astrud Gilberto, and Joyce all had it, and Sabrina Malheiros has it in spades.'(MOJO) With her debut album Equilibria in 2005, Sabrina arrived on a wave of instant acclaim, carving out her place as the pioneering voice of a new brand of Brazilian soul music, rooted in the traditions of samba and bossa, but with an edge of contemporary electronic sophistication. Sabrina's innovative nu-bossa sound would continue with the 2006 remix album 'Vibrasons' followed by sophomore 'New Morning' - declared the best album of summer 2008'(Evening Standard), before 2011's best-seller Dreaming.

Six years on, Sabrina returns with Clareia. Itmeans to clear, light, brighten or illuminate, which, after seeing Brazil and the rest of the world go through some very difficult times, is exactly what the writing of this album brought to my life.' All tracks are written by either Sabrina, or in collaboration with her father Alex Malheiros and producer Daniel Maunick. Written and recorded in Niteroi, Brazil, overlooking Gunabara Bay and Rio's beaches, mountains and forests, the music basks in its surroundings and sings of ecological beauty, peace and sanctuary. Echoing Sabrina's emphasis on clarity, Alex notes that the album's title represents an appeal to the minds of our civilization today, to clear our thoughts for good and for peace.'

This pursuit of clarity continued into the studio: It took a little longer than usual' notes Sabrina, which was good in way, as all my previous albums were recorded in rush and we usually had a week for pre-production and another week in the studio, which always gave me the feeling that I could do better. With this album it was different... we took our time.'

Sabrina's unmistakable voice has never sounded better. Packed out with high-octane swinging samba-soul, like the title-track and 'Salve O Mar', the album also features some bottom-heavy Brazilian boogie cuts, like rejoicing album opener 'Celebrar' which harks back to some of Marcos Valle's cult '80s disco output, and 'Sol Ceu E Mar' is a Tania Maria-esque future classic of scorching latin-funk. Mellower moments are found in 'Em Paz', on which Sabrina's beguiling harmonies find an anchor in the rhythmic acoustic guitar of Ze Carlos', who Sabrina heralds as being the best guitarist I have ever worked with'. Azymuth's keyboardist Kiko Continentino's deft Rhodes, piano, organ and synth playing, add ever more textures of distinctly Brazilian brilliance throughout, while tropical brass and flute arrangements on cool bossa-jazz movers 'Vai Maria' and 'Sandore', come from Brazilian saxophone legend Leo Gandleman, a man who has worked with everyone from Gal Costa to Gilberto Gil. The rhythm section combines Daniel Maunick's seamless drum programming and the organic polyrhythms of Brazilian percussion legend Jakare, all punctuated by Alex Malheiros' inimitable (occasionally slapped) jazz-funk bass, giving the album its irresistibly danceable pulse.

Set for release at the height of summer this year, Clareia is an intergenerational masterclass of Brazil's soulful spectrum, led by a pioneering voice of today's scene on the very top of her game. The up-lifting compositions, which take inspiration from the stunning natural beauty amongst which the album was made, and the call for the clarity of mind needed to preserve it, are enriched by this special team of some of Brazil's most established musicians. Like the sun breaking through tropical storm-clouds, Clareia is a vessel of joy, as Sabrina puts it simply, I hope Clareia brightens the soul of whoever listens to it. That's the spirit of this album.'

No musician embodies more the dramatic transformation in the British jazz scene over the past thirty years than Courtney Pine. His debut album, Journey To The Urge Within in 1987, was the first serious jazz album ever to make the British Top 40, notching up sales to qualify for a silver disc.

Aside from being the preeminent figure in the resurgence of British jazz, Courtney became a renowned presenter and broadcaster, best known for his long running radio show for BBC Radio 2, 'Jazz Crusade'. He was also awarded an O.B.E in the 2000 New Year's Honours, and was also made a C.B.E in 2009 for services to Music.

As an artist always looking to work outside of and across established musical genres, it is easier to list the musicians and artists he hasn't worked with, but now in 2017 Courtney releases brand new music featuring another British music legend of equal repute, his Freestyle Records label mate and an artist also honoured for his own creative endeavours, Omar Lyefook M.B.E.

Both tracks of this single are taken from Courtneys' forthcoming album Black Notes From The Deep - the 19th of his stellar career. The exciting and fresh interpretation of Herbie Hancocks' Butterfly demonstrates straight away that this is a dream team combination. With Alec Dankworth laying down the bass, Rod Youngs' drumming underpinning the groove, the song also gives the outstanding keyboards of Robert Mitchell space to stretch out - Omars fantastic vocal performance rides sweetly on top of the dreamy backing vocals of Charleen Hamilton - and of course Courtneys' flowing, imaginative and creative solo perfects this modern version of a much loved classic.

Rules is a brand new, collaborative composition by Courtney & Omar - the punchy drums and bass line patterns hints simultaneously at classic jazz and funkier club-centric sounds. Courtney cooks on tenor saxophone and also the organ - whilst Omar marinades the super catchy melody with that unmistakable voice.

As an introduction to the forthcoming album Black Notes From The Deep this single points the way to what 2 British legends, both exemplary in their own right - can come up with when joining forces.

Freshly dressed after a double helping of made to measure goodness, Aficionado size up another summer time smash for the sandal-wearing masses.
Keen to capture the coastal cool of the Wirral peninsula, the label crack out the crystals and summon strange-wave sorceress Brenda Ray for another hit of her interplanetary excellence.
Wandering from new age haze to celestial rays on this tripped out trio, our genre blending genius takes the fourth world into the fifth dimension of psychedelic sound.

Our spiritual journey begins with the chakra cleansing 'Solartude', an out-of-body beauty which bathes us in swirling flute, dreamy chimes and shimmering tape delay before sending us off towards the Orient.
Eastern tones and hushed vocals ride a glistening sequence as this flawless fusion of exotica and dub suggests a medicated Martin Denny stumbling out of Chinatown and into a humid mangrove.

Next stop on the voyage of self discovery is 'Space Dustin', a lunar lullaby for lucid dreamers which sees Brenda spin Fairlight mallets, celestial keys and whispered vocals into an immersive ode to the outer rim. Floating free of space and time, perhaps you too can glimpse the excellent birds.

Over on the flipside and the temperature begins to rise. 'Skip, Hop To Bop' sees Brenda dabbling with dub Techno, setting Basic Channel synths and stirring strings to a skittering rhythm. Dislocated and disoriented we descend into a strange subterranean world of Rothschild parties, Lynchian noir and muffled Techno.
Surrounded by swirling voices, shuffling percussion grabs hold of you and all that remains is to sway.

Officially Aficionado.

Soul Deep Recordings and Blade are pleased to present the Blackbird EP. The EP features 2 richly crafted rollers that will rock the dance floor. The title track, "Blackbird", has received support from LTJ Bukem and many other top deejays around the world. The song starts off with a heavy amen break and light background atmospherics. At each turn, the break seems to get heavier as layers are added to the mix. When the bassline drops, the groove is undeniable, and will have your head nodding in approval. The song chugs along and builds to a crescendo with it's epic pads and tasteful atmospherics. "Bella l'amour", is the second offering, and it shows a different side to Blade's diverse productions. The track begins with a light break, airy efx, and chiming keys, that set the backdrop for this tight production. At the drop, the drums fill in nicely and the warm 808 bassline punch through the mix. Overall, Blade delivers big on this release, and will surely satisfy his fans with this slice of D&B heaven.

Don't shoot me, I'm only the piano player.

The Scene: The Welsh mountains, remote and harsh, a special place. A good place to produce a special album. The characters: Volker Bertelmann in his friend Adam Fuests' studio, equipped with only a piano and a laptop. The Project: To record a album of piano music. Title: Hauschka.

Piano music is highly personal music, which is the reason why piano solo albums occupy a particular place of importance in a musician's work - not that Volker Bertelmann wants to hype his first foray to that extent, hence the pseudonym. Nevertheless Hauschka is personal music, simply because it has accompanied him for so long, because it has always been there in some shape or form, because it has always been important. The title points to the fact that it is dealing with something of import, not just a few finger exercises or background ivory-tinkling.

Substantial' is a snapshot of a life spent with the black and white keys, and is simultaneously both moment and history, thought and feeling, yet without turning into a unduly meaningful concept album. Rather, Substantial' is based upon the least conceptual of all concepts: Improvisation. Each track is based upon an opening sequence, the theme of which is extended, modulated and varied with, as far as form or length is concerned, no specific objective in mind. What has come out is music of a differing, well, substance: Eleven atmospheric pieces in which a variety of different techniques overlap and rhythmical images with narrative depth unfold, in which further instruments, such as double bass or vibraphone make a fleeting appearance, at once lending a hint of pop, but at no time detracting from the piano as central instrument, in which experimental and electronic music is accessed without compromising the directness and ease of the improvisational approach.

The confluence of Bertelmann's multiple musical personality can be apprehended here: Whilst the pop-oriented musician plays the melody, the electronic producer gently experiments with sounds, leaving the pianist quite literally to manipulate the piano, - plucking the strings with a plectrum, dampening them or bowing them lengthways to achieve a variety of percussive effects. Following the recording, the tracks were adapted, supplemented and finalized. Using multi-tracking, up to four piano tracks were superimposed, electronic sounds from the laptop added, as well Stefan Schneider's bass (Mapstation, To Rococo Rot, Music A.M.) on three tracks.

Sunlightsquare keeps on exploring multiple style of House music this summer. The previous single from the last month "Oyelo" was a winning combination of authentic Latin Cuban music and classic 909 House beats. It was championed by Ron Trent, Osunlade, Hunee, Bradley Zero, Nick The Record and Atjazz to name a few. This time, the main man and keyboard wizard Claudio Passavanti deployed two remixers for deeper and more spiritual endeavour to showcase his magical composition.

Hailing from the birth place of South African House music Pretoria, the talented young producer Blaqtone laid out beautiful sunset pad, earthy African percussions and solid rolling beats, all work like magic with Claudio's original spiritual keyboard works.

On the flip side, Kay Suzuki pulled off another dubbed out psychedelic mix with "Astro Dub", just like the previous release, and the more dance-floor oriented classic deep House style of "Moon Mix" influenced by the likes of Larry Heard. The track features sequenced Mini-Moog bass line and call & response drum programming before blissful harmonies and melodies kick in.

Short Bio:
Critically acclaimed Jazz pianist, multi-instrumentalist & bandleader Claudio Passavanti aka. Sunlightsquare has been associated with Latin & Cuban music since his top selling vinyl releases such as "I Believe In Miracles"(2010), "Pastime Paradise"(2010) and "Heart's Desire"(2012) as well as producing the main title of the soundtrack on the feature film "Cuban Fury" (Studio-Canal/Film4) starring Nick Frost (2014). Claudio's talent also extends to house music production with the 2016 Osunlade's Yoruba Soul Records release "Celebration Of Oggun", as well as his remix work for Gilles Peterson's Brownwood Recordings.

Der britische Produzent und DJ WEN veröffentlicht Ende Juli sein Big Dada Debüt auf 12inch (inklusive Download). Die 4-Track EP "Carve + Gaze" folgt auf eine Reihe von EPs und Singles auf Labels wie Tectonic, Keysound und Soundman Chronicles. Bei der Songauswahl wurde er von der "Gaze Theory" inspiriert, einer Theorie, die sich mit der Art und Weise beschäftigt, wie wir Kunst aufnehmen und zum Ziel hat, eine Methode zu entwickeln, um diese in den kreativen Schaffensprozess einzubinden. "Carve + Gaze" begann als eine Ansammlung von Songs, welche WEN auf regnerischen, spätnächtlichen Fahrten durch seine Heimatstadt Margate abhörte und final zusammenstellte. Auf weltweit 700 Einheiten limitiertes schwarzes Heavyweight 12" Vinyl (180g) inklusive Downloadcode.

Emotional Rescue and Jamwax come together to present the first of three essential 12's from NY/Jamaican label Capo Disco, all officially licensed and remastered for the first time. The brainchild of reggae vocalist, musician, producer and label owner Glen Adams, the label married disco with his Caribbean roots to perfection. TIP! Born and raised in Jamaica, Adams story is a similar one to the performers of the golden period post-Independence. Initially discovered as a vocalist by Coxsone Dodd, he went on to work with such luminaries as Ken Boothe and Stranger Cole before co-founding The Heptones and working Duke Reid, Bunny Lee and Lloyd Charmers.
As a session organist he worked for The Hippy Boys, The Reggae Boys and later with Lee Perry's The Upsetters. Here he came in to the orbit of The Wailors, touring England with them in the early 70s and with Perry co-wrote Mr Brown. When most of The Upsetters became Marley's rhythm section, Adams stayed with Perry before making the move to Brooklyn in 1975.
There he started Capo Records, running it and it's sub-labels, successfully until the mid-80s. During these later years he ventured in to mixing Reggae with Boogie and Disco rhythms and released just four 12's under Capo Disco as well as recording boogie and hip-hop influenced releases with T Ski Valley and as Glen Adams Affair for SAM and Moonglow Records.
Here then the spotlight is on Adam's nascent disco releases and the series starts with the wonderful, uplifting A Beat For You. Actually appearing on a one off sister-label, Top Secret, this is a beautiful 'Lovers' anthem from Adams over a laidback dub-bass riddim. Backed with a simple instrumental Version, the space and interplay of the keys and guitar over drum and bass is superlative. 'There is a beat in my heart, just for you...just for you.'

A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others.
Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship.
'India' includes the incredible 'Pontos De Luz' as sampled by Kaytranada on 'Lite Spots' - one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.
A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

With Bjoern Torske, Skateboard, Telephones and last not least the Sex Tags label all hailing from Bergen, the City ´s not been exactly short on world leading 'd.i.s.c.o' , but it´s Geir Hermansen aka Velferd that recently cought our ear with his keys. In 'The City that Drowned' it´s unlikely only ever so wet, there´s bliss, sun, warmth, heat - all painted bright with skyrocketing masterful synths over very neat and dry bass. great! Laid back and somehow dreamy the whole thing catches you by the ear and lingers on but then there´s so much dedicated kick and an almost extatic groove in each track - irresistable string hooks made in heaven! 'Never' and 'Through the Valley' add on to where the title song just left and this give the 3 track ep so much perfectly arranged strength... Bergen might well have given birth to another disco standard-bearer.

Minimal multi-instrumentalist weirdo zone brilliance on another obscure uncovering from the excellent Growing Bin...big tip!
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"If you've kept a keen ear to the underground, you may have noticed a trance revival creeping into the dance floors and darkrooms of late, a post ironic return to the 64 bar breakdowns and peak time key changes of your serotonin drenched youth.....

So what's this then Has Growing Bin gone from groundbreaker to copycat Dig a little deeper folks, for the Trance is question is Jürgen Petersen, a forgotten cosmic kingpin in tune with true electronic excellence. When Danielle Baldelli wanted to show off his eclectic tastes, which record did he reach for Petersen's 1980 LP, 'Here And Now' of course. And when John Schaefer put together his essential exploration of New Sounds, who did he describe as Germany's answer to Eno Trance, damn right! After blessing the world with a trio of essential electronic LPs between 1979 and 1983, Petersen moved out of the limelight and lived off the grid, collecting his mind expanding music on a series of self-recorded, self-released cassettes, known only to the inner circle of elite European diggers. The sounds found within were unusual, experimental and ecstatic.

Fusing the organic tones of piano, 12 string guitar and sitar with soothing sine waves and hypnotic synthesis, Petersen harnessed the healing frequencies out there in the cosmos and transfixed the
listener with pure otherworldly beauty - ambient music for a new age... Unravelling these rare cassettes for music lovers everywhere, Growing Bin treats us to 'Tapes', a five track vision quest for the
horizontal travellers and fourth world nomads. Sven can keep his cocoon, we're off in search of the butterflies..."

part 2 !

Dark Entires is honored to reissue the long out of print debut album Elevator to Eden by LIVES OF ANGELS. Lives of Angels was the brainchild of GERALD O'CONNELL from London, England. In 1974 he worked at CBS studios mastering recordings from tape to disc. By 1977 he joined his first band MYSTERY PLANE, led by school mate Mark Harvey and later joined by his soon-to-be wife Catherine. Gerald branched off in 1980 forming Lives of Angels as an outlet for his own compositions. He recorded, produced and played all of the instruments on Elevator to Eden' between 1981 and 1983, using a primitive set up of drum machines, one keyboard, guitar and a tape echo. Influenced by the Krautrock sounds of Neu! and Amon Duul II as well as US psychedelic rock, Lives of Angles crafted their own unique post-punk sound. Elevator to Eden was originally released in 1983 on cassette by Color Tape Records, the label started by Gary Ramon of Modern Art. Then in 1986 Fire Records remixed and re-released the album on vinyl but the band was not happy with the mixes. This reissue features the original 4-track cassette mixes of Elevator To Eden on vinyl for the first time ever. The LP includes 9 songs featured on the original Color Tapes release. All songs have been remastered for vinyl by GEORGE HORN at Fantasy Studios in Berkeley directly from the original master tapes. Each LP comes with unreleased photos, original artwork and a lyrics for all songs.

Dark Entries present the sophomore album from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album 'Meditations/Industry' was released on cassette in 2013 and edited for a vinyl release in January 2016 followed by two 12' singles 'Warehouse Invocation' and '7 of 9' the same year.

'The Shape Of Things To Come' is a 70 minute journey spread across two pieces of vinyl. It's comprised of seven tracks recorded directly to tape with no overdubs, made at Converse's home studio. At the time of recording, Bill was sending this material to Josh Vance (Josua Dorje Ngodup) for feedback. Most of the time Josh would respond in the form of artwork, and then Bill would create another track inspired by this feedback chain. Converse has dedicated this series of tracks to him. The songs on this album reveal a sublime influence from Detroit techno, early Chicago house, and Acid. For this album Converse slightly bumped up the tempos geared for dancefloor energy. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks evoke how things have changed and how they have come to be.'

All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a gatefold jacket with a painted photograph portrait by Dietmar Busse and layout design by Eloise Leigh. The gatefold conceals an otherworldly collage made by Josua Dorje Ngodup. Each copy includes a postcard featuring artwork from Bill's sister with notes.

A humorous look at some of the more infamous characters in history precedes a charming keyboard led instrumental. Most likely Lloyd 'Gitsey' Willis and Family man sharing the musical honours.

Dave Barker on the flipside with a 'modernist' view on 'Smooth and Sorts'. Comes in a hand stamped bag.

Never one to rest, our pal The Revenge has been busy as always. His latest LP as 6th Borough Project Find Your Rhythm' recently dropped on Roar Groove, he created a beautifully delicate remix of Auntie Flo's Waiting for a (Woman)", had a change of scenery relocating from Scotland to Denmark and his collab EP with Dirt Crew, flush with Nachtbraker remixes was one of our biggest records of 2016! Amongst the action he's taken the time and a more in yer face' approach to write us his latest EP, a four-tracker of proper club tracks. Every Night' brims with raucous disco energy. The French Filter House' reminiscent gem's strings shimmer and funk horns hit heavy, a jam destined to wear holes in shoes. Grit' attends to the easy-going Disco grooves we love so much from The Revenge, plenty of shake and soul it's overflowing with good-mood energy. B-side opener Never Learn' gives us a glimpse of the darker end of The Revenge's spectrum. Subby toms rumble, tweaked out synths bleep and slide and delayed key stabs shift the party into smoke hazed, underground rave mode. The closing track Krokodille' brings that Bass n Electro gritty booming sound! The acidic lead wraps around sturdy drums. Straight forward with plenty of kick, what an ending to a high quality EP!

Hemlock founder Untold is back on the label with his first vinyl EP since 'Doff' on sub-label HBLK back in 2015. This release follows appearances on last year's #savefabric compilation, and more recently on 'Magic City III' compiled by Mixpak boss Jubilee.

HEK029 follows a rewarding period of A&R for Hemlock that has so far delivered EPs from Bruce and Parris, with several more scheduled to drop throughout 2017.

This EP's two winding tracks are a natural progression from the fiercely textural drum work of Untold's previous singles and album 'Black Light Spiral.' Here the material is given more space to breathe and released from the grid creating a lighter more footloose feel.

'Tear Up the Club' carries the weight of DMZ era half-step using a loose web of elasticated breaks and builds to reveal a striking melodic line.

On 'Watton Res' exotic tones are further compressed and expanded in sequence, encasing drum machine, keyboards and guitar work within a delicate shell.

Jaxx Madicine is a jazz-funk inspired house'ish outfit from Milan consisting of Turbojazz (Local Talk, GAMM Records), Parker Madicine (Heist, Bastard Jazz Brooklyn, CT-HI Records) and the talented jazz keyboardist 'Veez_0'.

With an organic and melodic sound collage you can hear influences from classic 70's jazz-funk labels and artists like CTI, Mizell Brothers, Kudu and Bob James but also the current sounds of Kaidi Tatham, Byron The Aquarius and Harvey Sutherland.
On this their first EP you get three amazing tracks that all are made with a genuine love for analogue synthesizers, fender Rhodes, clavinets and some soulful MPC programming...

In a brief time Parris has not only engineered but fully-stabilised an otherworldly sound of unique resonance. Through leadership of cult label Soundman Chronicles and his own work on Idle Hands, Tempa and Ancient Monarchy, his research and publishing has attracted fervent interest in the UK Bass community and is rapidly gaining wider international recognition.

Measured with due diligence, he has propagated and influenced key research topics and industry best practice standards through regular transmissions on Rinse FM and the recent C90 Cassette 'TX280916 / TX111116'issued on Keysound.

Hemlock is honoured to present his most recent work exploring low frequency encryption and optimisation. HEK028 contains some of the most sophisticated and realistic models we have manufactured thus far.

'Your Kiss is Sour' a slow release payload observed from inception to destruction through decay. Malic tones are exposed, individually suspended then vacuum sealed allowing multiple strains to be dissected and ranked according to their sonic weight and availability.

'Flowering in Threes' introduces technology sensitive enough to detect and harness resonance from long-submerged sub frequency transmissions. The available models can be layered across several axis concurrently with minimal phase or gravity distortion.

'My Beautiful Fantasy' explores and challenges several popular weightless theories in an engaging and controversial tone sequence.