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3024 returns for another action packed V.A. EP with tracks from label head Martyn, UK Hard Drum master NKC, Washington DC local Djoser and an unreleased gem from Jacques Greene!

Special Ltd Release with Various Artists. Don’t miss it.

Warehouse Find!

Time flies when you're having fun and we can't fathom how this can be Ben Sun's 5th EP for Delusions Of Grandeur but it's true enough and once again he comes up trumps in the form of the Place Of Worship EP. Having previously graced such esteemed imprints as Royal Oak, Tru Thoughts, Razor n Tape as well as his own vinyl-only label Voyeurhythm the London based Australian producer continues to be both highly regarded, yet somewhat under the radar but we're sure that's about to change with this incredible new three tracker.

Opening up we have See It Come Shining, just the kind of life-affirming club track which seem to be in such short supply these days, but that we need now more than ever. Gospel flavoured piano chords tug on the heart strings whilst a simple, raw disco groove with added 909 punch creates a warmth and energy that transcends the dance floors that it's destined to liberate.

Flipping over we have Oceanways T150, a deep, analogue jam that harks back to simpler times when breakbeats collided with a house thump, uplifting pianos meld into punching basslines and discovering music through muffled old cassette mixtapes or patchy pirate radio reception was all we knew.

Rounding off the EP we have the perfect closer Atlantis Transfer. Here Ben puts more early influences into the mixing pot with ambient washes cascading down over a sublime 90's deep house bassline. Analogue hats and tripped-out sound FX skirt around a naive synth melody making for a heady late night treat to get lost in.

A third of Italian production act Agents Of Time, Sharp Felon loops out of the trio's orbit to land his debut solo EP on Maceo Plex's Lone Romantic, 'Let The Game Begin' - featuring three stunt-driving cosmonautical bangers that aim to abolish all sense of gravity in the club and beyond. Breaking in at fierce speed, 'Devil Trail' attacks pedal to the metal and leaves prismatic wisps of vapor in its wake. A proper electro-magnetic dasher, the track alternates steady shooting sequences of 303-marinated bass with eloquent kosmische-indebted synth maneuvers and laser-precise breaks, all joining forces to have your feet shuffling and mind drifting up into higher spheres of consciousness in one potent backhanded caress.

A more straightforward affair, B-side opener 'Telework Titan' lifts its listener off to a further compelling state of meditative balance through a nonetheless muscular groove and epic-sized sub-bass moves. Cruising in the upper layers of the stratosphere, Sharp Felon's stamps on the accelerator of his shark-mouthed spaceship and hedgehops across craggy alien reliefs with personal hands-on skills. Intergalactic transmissions announce an imminent extra-terrestrial invasion, it's time to tune out and enter the melee. Laser guns blazing and acid stabs smoking, 'Cyber Fex' nose-dives in an enemy-occupied territory and washes over the ground brawl like a hi-tech tsunami. Purebred Donald-ian face-melter in sheer Dopplereffekt meets Arpanet fashion, this one lacks no oomph.

Louis captures the secret life of techno in all his compositions. On Metronomik, his stripped 808 grooves emulate the harsh time keeping of life',s metronome. Warm, gentle washes and
thoughtful melodies remind us of who we are in this time/space. Ideal for home listening or inspired movement.

Soundway are excited to announce one of their flagship contemporary releases for 2019 - the next album from LA-based artist Dexter Story, called "Bahir".

Following his previous Soundway releases "Wondem" and the successful single "Wejene Aola (feat. Kamasi Washington)", this new album is an incredible masterpiece featuring guest artists such as Sudan Archives, Miguel Atwood-Ferguson, Josef Leimberg, Marie Daulne (Zap Mama) and more.

We have engaged PR agencies in UK/Europe and the US, and will be announcing the album this Friday 1 February, along with Afropunk premiering the lead single "Shuruba Song (feat Hamelmal Abate)".

The second single, "Gold (feat Sudan Archives)" will be released on 15 February.

Please note there is an additional track on the digital release, called "Chemin De Fer", which does not appear on the vinyl due to running time constraints.

Important note: Track A1 and A2 merge into each other on the vinyl

CAVE are kind of beyond time. You might feel like it's been
awhile since you've seen or heard them but when you see
or hear them again, that moment will feel like 'Allways'.
During the making of the last album, 'Threace', CAVE was
in the process of becoming a quintet. They toured the
world afterwards, playing on four continents and eighteen
countries - as close to everywhere as they could get. Then
they took a minute. They recorded it over time, in Chile
and then Chicago. You can hear all of this, the energy of
liveness, the reps, and consolidating expanded possibilities
within their new alignment, the time away, the distance
and the freshness of returning to recorded sounds,
everywhere on 'Allways'.
In the past, much has been made of CAVE's use of
particular compelling tropes but their inspiration comes
from everywhere - Miles, psych, beats, exotica, library
music, rock, punk, the Germans, the New York guys too,
minimalists, the Dead, music from India, everywhere. This
is a bunch of guys playing rock-based music in a way that
pushes them forward from everything they've experienced.
When you listen to the new CAVE you hear guitars - lots of
them - bubbling under, scratching, fanning, locking in and
taking off, soaring on acid-washed wings, with keys that
pump, burr and whoosh in and out of the rhythms.
Half-speed mastering of 'Allways' at Abbey Road has
allowed the activity at all frequencies to present with a
liquid fullness and ripe detail. 'Allways' is a blueprint for
your ears to read and a map for CAVE to follow through
the world.

Andrew Wasylyk is the alias of Scottish writer, producer and multi-instrumentalist, Andrew Mitchell.

In 2018, Andrew was extended a residency invite from arts centre and historic house, Hospitalfield, Arbroath, Scotland to create new music for their restored, 19th century, Erard Grecian harp.
During Wasylyk's five-month sojourn he created melodies and progressions echoing the building's unique relationship with the looming North Sea horizon. Using not only the harp, but the house's original grand piano, Andrew explored the Angus landscape and beyond, gathering field recordings on trips to neighbouring Seaton Cliffs and Bell Rock Lighthouse (the world's oldest surviving sea-washed lighthouse).
Winter slipped into spring, and harp-led compositions gave way to an ambitious third, full-length album, exploring a range of themes utilising a broad palette of instrumentation, including flugelhorn, euphonium, oboe, string trio, vintage synthesisers, drones and upright piano.

From the wandering, Bob James-esque, Fender Rhodes and shimmering strings in the study of coastal light, "(Welter) In The Haar", to the plaintive brass and farewell transmission blowing through, "Adrift Below A Constellation", punctuated by the fragility of Wasylyk's sole lead vocal of this collection - "The Paralian" (a dweller by the sea), is a conclusion embued with blue and golden melodies that land in a territory akin to experimentalists such as Robert Wyatt and Brian Eno. Through which, Wasylyk weaves the listener along a Modern-classical, Ambient and Jazz dream of Scotland's east coast.

Athens Of The North team were stunned by the luminous beauty and creativity at play in this work. Falling between genres and time, it stands next to 60s British Jazz, effortlessly blending notes of Library and soundtracks with dashes of British Folk.

collecting orders for repress

The Messthetics are an instrumental trio featuring Brendan Canty (drums), Joe Lally (bass), and Anthony Pirog (guitar). Brendan Canty and Joe Lally were the rhythm section of the band Fugazi from its inception in 1987 to its period of hiatus in 2002.

This is the first band they've had together since then. Anthony Pirog is a jazz and experimental guitarist based in Washington, D.C. One half of the duo Janel & Anthony, he has emerged as a primary figure in the city's out-music community.

The trio's debut includes nine songs recorded at Canty's practice space throughout 2017, live and mostly without overdubs. It's a snapshot of a band dedicated to the live ideal, where structure begets improvisation.

Brendan Canty: drums
Joe Lally: bass
Anthony Pirog: guitar

Payfone bring a double header of NYC styled heat for the inaugural release on their newly launched Otis Recordings. Marrying modern boogie and classic R&B, with cosmic leanings and Balearic touches, Payfone manage to keep all the essence of the early days whilst bringing a contemporary swagger to the floor.

Each element in 'I Was In New York' gets the space it deserves. Palm muted guitars and sashaying synth echoes flutter over the top of a strutting slap bass courtesy of Giulio Granchelli. A simplicity that sings - simultaneously giving your mind the space it needs to drift off into a daydream of sunsets over cityscapes. Introspective, meditative and innocent, Dayna Talley's spoken word vocals lull listeners into memories of tranquil times. Set to be one of 2019's standout songs, its refreshingly original and sure to cut through the noise.

The B side, 'A Prayer For Maya Angelou' takes a Balearic boat out across calming seas. Gravitating around a metallic, pulsating synth, modulated to bounce at points and brood at others, mystic flurries drift in the distance, as pads wash across the horizon. Len Xiang's melancholic tale reverberates throughout, with those sweet sax sounds from Billy Brooks Paul and a spring reverbed guitar riffing off into the ocean - elevating this into pure paradise.

Editorial venture to France for ED025 with four expertly edited, blissful gems from Parisian producer, Chevals.

The A side hits with two hazy cuts of sun drenched disco house. 'Left Behind' swells with filtered tales of lost love radiating a bittersweet warmth. Rich bass melodies and clipped funk guitars shine through as thoughts drift away across glistening seas. 'Eye Of Love' is served up next, equally as impassioned with buzzing synths, basking Spanish guitars and joy-filled chords and congas give a sense of desert islands where day-to-day life is only a figment of the imagination.

Flip it over and 'The Line' hits with a pumped up, soulful bassline that solos and sidewinds with brazen hats as its accomplice. Squelching keys and deft Rhodes touches add luscious harmonies to leave listeners lulled by its masterful flow.

Last up, 'Time' takes a pensive, eyes closed trip - delicate vocals, summery synth lines and glimmering samples washing away the worries as they wander over the airwaves.

A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like 'acid folk' and 'soft rock', it's difficult to imagine a time when the legendary Susan Christie album didn't exist. When Finders Keepers Records first shared the unheard 60's songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan's new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an 'instant classic'. Which is why it's hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP.

The oft over used term mythical applies to this album on many levels. Perhaps it's the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960's copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where's My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase 'unbelievable' as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market... No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan's won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday... could easily allude to the haunting melodies that sat in the can on John Hill's studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it's future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender - at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60's America simply wasn't ready for. It is just over 12 years since champion record rustler Keith D'Arcy (who you'll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it's almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades.

Whether this album has been on your wish-list for what seems like a lifetime, or you are taking a plunge into this deep puddle for the first time, when the needle drops on the first track you'll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.

Originally starting out in the late 90s, Paris-based 8 piece, Cotonete originally gained fame for renditions of tracks from their contemporaries, the likes of: Deodato, Lalo Schiffrin and Banda Black Rio. Replicating the heavy grooves, sweaty jazz-funk with a nod to the Brazilian warmth and beach breeze. Before bowing out of the game thinking the fun was over….

Fast forward to more recent times, having had their flame reignited by Melik Bencheikh, head honcho of Paris vinyl emporium, Heartbeat Vinyl. He encouraged the band to get back together and over the last two years the band released four EPs of original material - including the collaboration with Dimitri from Paris - quickly becoming collectors items, and now gearing up for 2019 they are finally ready to present a full body of work, their album debut 'Super Vilains'.

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.

Belgium DJ / Producer ED1999 kicks off the debut release for his newly minted 'Porpax' imprint with 'Melodius Hubbub, a 4-track EP of hypnotic dark Techno saturated with modular wizardry. The release confidently displays ED1999's production power as well as the serious direction the label is aimed at taking. The music featured clearly inspired by the energy found in Tbillisi, Berlin, Detroit and anywhere else heavy duty underground music is celebrated.

'Path Of Hope' is a punchy mover heavy on the reverb, with washes of metallic gray atmospherics floating in and out of the steady analogue drum patterns. The track grows in energy throughout with additional claps, hi hats and melodies generating an absolutely effective tension building weapon.

Title track 'Melodius Hubbub' is pure hypnotic Techno at its absolute finest. Black as midnight elements drive the energy to dark territories. ED1999's perfectly positioned sonic peaks and valleys of thick musical textures ensure the dancefloor never loses a moment getting lost in the incredibly positioned hypnosis of sound.

'Winding Course' is centered around a gurgling synth ride which gives the track an uneasy and twisted vibe throughout. Additional melodic effects join the main synth, adding a romantic sense of danger and dancefloor movement. Akin to ED1999's brilliant ability to keep his music restrained and effective for serious club-goers.

'Sleazy Nook' is the darkest of the dark tracks found on the release, with shudder inducing effects and ice cold soundscapes residing alongside the winding rhythms. A truly intense breakdown midway through the track generates a clever sense of sinking, with only the kick drum returning to keep people safe from going under.

Spiderland by Slint is post-rock ground zero. It was the band's second and final album, but it's THE ONE when it comes to defining a sub-genre. The band featured Brian McMahan who went on to play with Will Oldham and then form The For Carnation, and David Pajo who has done many good things since such as Ariel M, Papa M as well as being in Tortoise for a bit. He was also a member of Billy Corgan's Zwan.

All things come from and return to the same source - such is the theory of Monism; an ancient philosophy, but also accounting for the music of Jeroen Search. Dictated by an ethos of exclusively recording live takes and the only ever editing happening while a tune is being created, each finished track is imbued with that unique magic of the moment. Such too is the nature of Monism, Search's first LP in over two decades of electronic explorations and personal as well as artistic growth. As with any of his music that has been released so far, the tracks on here hold a timeless quality, existing within their own frame of reference than - that is their immediate experience. Across a carefully arranged course, the album naturally unravels its many ideas, ranging from moments of pensive ambient pieces to thick washes of dub echo and layers of modulated synths, all while providing an endless array of hypnotizing bare-bone grooves in the process. A true Figure mainstay, Jeroen Search upholds his artistic relevancy without any reinventing or switching up the formula - rather by simply keeping true to his accomplished craft.

4 track ep from Alex Gloor's edit archives, obscure dance music with no additional production
just cut and paste which keeps the original sound intact

Nirosta Steel is a sometime alias of Steven Hall. Musician and survivor of the `80s NYC`s art melting pot. Everybody Sing dances like Steven`s long-term collaborator and lost-way-too-early friend, Arthur Russell. As he forced irresistible, idiosyncratic, Disco-Not-Disco, out of the Ingram Brothers. Riding low rumbling bass. Phased guitar, country picking, flickering in and out of the mix. Strings, choir boy falsetto, and blue yodel, cutting through its delay-drenched, dance floor delirium.

L.A.`s Cole Medina delivers two reworks. His Heavy Disco take is intro`d by cowbell and synth swirls. Cymbals crashing like sampled surf. With Stratocaster microtones, and echoes of the original, washing over an electronically, re-imagined B-line and trip-py sequences.

Cole`s Knuckles Tribute sets poignant piano and gated orchestral euphoria against a classic Def Mix groove. Revealing the song in epiphany. Clarifying the lyric`s call for unity. Where singing your troubles away is a analogy for strength in adversity. Everybody hurts sometimes. In that, we are united. Eventually heading towards its own disorientating climax. Comin` at ya from all sides.

Mind Fair`s version goes in for some tribal thumping. Stripping the track down, before building it back up. Its big kick blowing bins like a hyped heart pumping within a giant's chest. Chicken scratches dropping in between its colossal 'lub dub', and Coati Mundi-meets-Jah Wobble-like Punk Funk..

Known for a broad swath of genre-obliterating club tracks on crucial labels including Critical, Exit, and 50Weapons, Sam Binga approached us earlier this year with a radically different kind of project, a collaboration with Welfare, true junglist and label boss at D&B bastion Rua Sound. The result of their team-up is Conamara Fieldworks. Its unique inspiration and patient process are best described by the duo themselves:

"In early November 2016, we set off through the bleakness of an Irish November into the wilderness that is Conamara, County Galway, Ireland, with about half an idea of what we wanted to do. Our friend Laney had been kind enough to allow us the use of a 300 year old cottage overlooking the sea, itself belonging to her family through generations which she was bit by bit restoring to its former glory. The isolation was perfect - very little in the way of creature comforts, no network coverage, but plenty of turf for the stove and Guinness for the belly.

Our routine for the next few days consisted of trudging the length of the rugged coastline in search of interesting sounds we could potentially process into usable elements for some kind of dub/dub techno-inspired composition...This took us inside tidal caves and abandoned ruins, across sheep fields, up and down mountains and winding country lanes, in and out of the odd pub, under upturned boats and (carefully) across huge washes of seaweed-covered shoreline. Using our handheld recorder (shouts Danny Scrilla for the lend) we assembled a palette of varied noises, constantly battling with the peaking and distortion created by the incessant Atlantic gusts.

Each evening, following some intense huddling around the stove and vital Irish home cuisine and stout, we'd examine and dissect what we had collected that day, sometimes discovering the most interesting material firmly planted in the background of the soundscapes. A certain amount of (but not too much) processing later we had the bones of a few short loops of each sound which made some kind of musical sense when played alongside each other.

Binga suggested staying true to the craft and keeping the rawness to the foreground by attempting to develop the loops into full compositions via live desk mixing, arrangement and effects. We said our goodbyes to Conamara and a month or two later said our hellos to the Dubkasm shedio. Following a crash course from the dynamic duo, we set to work for the day, learning as we went along and enjoying to the full the unpredictability, intuition and sheer vibes a dubbing session can bring, particularly in a studio kitted out with some fine analogue gear which undoubtedly helped us to keep that damp, saturated feeling that Conamara had sown."

The resulting collection of music speaks for itself, and does so in its own language. It is meditative, deeply textural, and richly saturated, with awesome sound design, generous bass weight, and dubwise finesse. Referencing ambient, concrete, and dub techno while never letting any genre dictate its path, Conamara Fieldworks is a deeply rewarding and intensely involving listen. A restrained yet transporting remix from the one Ossia completes the set.