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When A&R get an email from a legend saying 'listen to these tracks, I think they're up your street' we knew we were on to something special.



Please welcome Biochip with their debut release 'Synthase'. Eight tracks of analog electro and acid techno, all recorded live. Very much of the Selected Ambient Works Vol. 1 ilk. Beautifully noisy, highly melodic and raw, with those emotional mid nineties IDM tendencies that very few successfully capture.

Biochip are Melissa Speirs and Julian Kochanowski from Montreal, Canada. Listening to Synthase you can tell they are huge fans of vintage analogue synths, magnetic tape and drum machines; their sound has a reassuring warmth and human feel to it.

We already can't wait to hear their next live sessions.

Light of the Fearless, Hybrid's fifth artist album, brings together UK-based, Mike and Charlotte's passion for combining emotionally powered cinematic pieces with astute, intricate and intelligent electronic production. This long-awaited work is firmly based on the foundation of the principles and standards set by previous albums but here there's a clear development and evolution. Never wanting to write the same album twice, Mike and Charlotte have taken another step forward and have created a cinematic, electronic album with songs that stylistically borrow from their childhood soundtracks of soul, funk & hip-hop.

With songs have been inspired by not only events in their own lives but also by movements such as the Heads Together campaign, March for Our Lives 2018 and the Women's March of 2017. The album provides a positive and confident stance on moving forward through adversity and regaining empowerment. This is "The Light Of The Fearless". This inspiration certainly hasn't led to an album encumbered by political statements, but instead gives all the summery buoyancy you'd want to hear at your next festival.

Since their last album in 2010 the band have not only expanded their ever growing body of film score work (Fast and Furious 8, Interlude In Prague, Hercules, Dead in Tombstone, Take Down, Luther, X-men, Deja Vu ) but also saw the departure of band member, Chris Healings in 2015. The cinematic ethos is deep throughout the album with The City of Prague Philharmonic Orchestra performing on eight tracks. Unsurprisingly, the album as a whole works almost as a kind of score, and it's intriguing to be guided through the plot from the outset in the album's first track "We Are Fearless" through to the final track on the album. The expansive and unique cover of Tom Petty's "I Won't Back Down". Hybrid certainly haven't lost their flair for combining cinematic soundscapes, electronics and breakbeats.

In the early eighties, Edmond Mondésir, professor of philosophy and Léon Bertide, trade unionist, founded the Bèlènou group. They were actors of the great agricultural strike of 1974, which resulted in the death of two workers (Ilmany and Marie-Louise) and left many wounded. Activists of the patriotic movement Asé Pléré An Nou Lité (Stop crying, Fight), they were part of the identity and the cultural affirmation la revendication identitaire et culturelle of the time. Like the Guadeloupean musician Gérard Lockel and his work on the Gwo Ka, they put the Bèlè, in its traditional form, back in the spotlight during Swaré Bèlè (Bèlè nights).Minimalist and spiritual, a true rural ancestral art from Martinique, the Bèlè combines dance and music from responsorial monodies, which is a choir that responds to the lead singer (Respondè / La vwa dèyè), on codified drum rhythms and ti-bwa (2 sticks that hit the back of the drum or a piece of bamboo). It comes in a series of collective choreographies, working up into the trance. The texts are simple, short and tell the story of everyday life and struggle. While preserving the emotion and the drum’s central place, the fundamental contribution of Bèlènou is to keep the traditional form of Bèlè while adding a modern instrumentation: bass, guitar, saxophone, drums...
Emosyon Tambou-a (Emotion of the Drum) was released in 1990. This third opus of the band expands the musical spectrum in harmonies, arrangements and influences to create a contemporary music anchored in the Bèlè matrix, while keeping the beat, the energy and ancestral roots of music. Bèlènou adapts some classic rhythms: Bélya, Gran Bèlè, Bèlè Pitjé or Ting-Bang rewritten here for an orchestra.With the appearance of long couplets and a complex harmonization of the choruses, Bèlènou's music brings a form of modernity, it opens notably to jazz territory as well as to other forms of music and grooves. Also, Bèlènou leaves the musicians with space for improvisation: not only on the saxophone or the guitar, but also with the drums (cleverly adaptating traditional rhythms to the drums).

The texts sung in Creole are of a social nature, appealing to the solidarity and self-denial of the people (Bélya pou péyi-a, Tout pèp-la sanblé), to the struggle for political emancipation towards a new democracy (Wi ny ké rivé, Ni dé jou, Démokrasi); land protection (Sové tè-a); finally, to the vitality of the Bèlè culture ... (Emosyon Tambou-a, Dansé Ting-Bang)...Culture participates, according to the expression of Aimé Césaire, as "Miraculous Weapons". Bèlènou sings a project of a new and united society. A precursor group, experimental in the its early years, Bèlènou reconciles with talent tradition, modernity and cultural identity.

Lovely crafted tip-on sleeve. Remastered. 700 copies

Xavier De Enciso is a DJ, scholar, producer, artist and renegade promoter who has been operating in Los Angeles for two decades. He’s at home on underground dance floors. His 4 track ep for Yaxteq visits darker and lighter corners of this special place. Dark
hypnotic pulses and textures dominate Rasquache and Metztli. The dance floor journey continues with WareHouse Deep and Long Distance with their hi tech funk fueled basslines and swinging drums. This is essential for skilled DJs that must take their audience on a real ride!!

Masks is New York duo comprised of Max Ravitz aka Patricia (L.I.E.S, Opal Tapes, Ghostly) and Alexis Georgopoulos aka Arp (RVNG Intl, Mexican Summer, DFA, Smalltown Supersound). The aptly titled EP2 is (yes, you guessed it!) their second release, preceded by their Opal Tapes debut Food Plus Drug (II) — which gained support from Legowelt, Mount Kimbie and Boomkat — and a compilation appearance on esteemed Beats In Space 15 year anniversary 3xLP.

On paper, it might strike one as a strange duo. Ravitz’s work leans heavily on house and techno, but his recent work has been focused towards emotive melodies of IDM. And Georgopoulos has been busy creating minimalistic classical music for RVNG and most recently made waves with his critically-acclaimed album Zebra, which combined elements of 4th World and cosmic jazz.

All the tracks making up EP2 were made as live performances. No overdubs. Nothing "in the box". Just classic hardware and a strong vibe.

Opener "In This Room" is the sound of a NY summer sunset, pivoting on a hypnotic rotation of orange-hued chords. "Emotional Response" displays a different side of the group. Combining a 909 with a piano tug, it could provide that perfect soundtrack to a cathartic cry on the dancefloor.

On the flip side, "In Another Room" is dreamy techno par excellence, before sliding into an acid chugg for the ages. Bookworms smears the sun of "In This Room" into a 4am whirl, all purple lights and mountains of fog.

The cover artwork features the artwork of Sanou Oumar, a recent emigrant from Burkina Faso, West Africa. He graduated from the University of Ouagadougou in 2007 and moved to the United States to seek asylum in 2015. He currently lives in the Bronx and works in Harlem, New York. In 2018, Oumar had his first two-person exhibition (with Matt Paweski) at Gordon Robichaux in New York, and in 2019 (with Elisabeth Kley) at South Willard in Los Angeles, curated by Matt Connors.

Blume, das atemberaubende Debüt-Album von Nerija erscheint am 02.08.2019 auf Domino.

Blume, das Debüt-Album von Nerija ist eine wahrhaft atemberaubende Sammlung von Kompositionen, die alles perfekt verkörpert, was Nérija ausmacht; lebendig, einnehmend, ansteckend und vor allem am Puls der Zeit.
Der Sound von Nérija findet seine Inspiration in unzähligen Genres - Hip-Hop, Afrobeat und Township-Musik, europäische Klassik und Soul - ein trotzig facettenreicher und einzigartiger Sound, der ebenso von Georgia Anne Muldrow hergeleitet werden kann wie von Arthur Russell, Duke Ellington und Eric Lau.

Having broken a decade's silence with 2016's 'System', LA-based electronic musician Joseph Fraioli, a.k.a. Datach’i, returns this summer with his eighth album 'Bones'.
Released on Venetian Snares' Timesig imprint, 'Bones' features 12 tracks of mind expanding electronica, once again recorded on his custom-built Eurorack modular system. Much like its predecessor, 'Bones' manages to make the most of the possibilities modular systems offer, whilst avoiding their many pitfalls that can often turn such music into little more than a dry academic exercise. Indeed 'Bones' is a remarkably intimate album, written and recorded in the time following his father's death, and reflects this intense period of personal change in Joseph's life.

"Creating this music was a therapy of sorts," Joseph recalls. "It was almost like a close friend being there for me, and it's something that I hope others can perhaps utilize in the same way."

The connection to his father is something that is reflected not just in the emotional intensity of 'Bones', but in the actual production itself. "My father and I were very close," he explains. "Whilst he was sick with cancer I bought him a guitar as he wanted to learn how to play, just to have something to do while he was getting treated. After he passed away my mother gave me the guitar to have as a sort of memory of him. I had the idea to record some sounds and music on the guitar and load it onto granular sample players on the modular synth so I could make new music from those sounds as a sort of tribute to my dad. You can hear some of those sounds on a few of the tracks here like 'Arrivals', 'Motion in the Living Room' and 'Undimension'."

The resulting album grapples with the intensity of these emotions. But for all their weight, tracks like 'Saugerties Road', ‘Rockledge 3A’ and ‘Antumalal’ transform that heaviness into something warm and comforting whilst the aforementioned 'Arrivals' or ‘Wand’ ultimately achieve some kind of escape velocity and soar. Even though 'Bones' is about endings and finding closure, it also looks forward to new beginnings.

"It was something very much on my mind throughout recording this album," he relates, "ends being beginnings and beginnings being the end. Cycles of time and how time works, it's all reflected throughout the album right down to how the tracks are ordered."

Ranging from blissful ambience and guileless, starry eyed melodies, to intricate claustrophobic rhythms that forever sound close to collapsing in on themselves before expanding into bold new patterns, 'Bones' is the work of a producer who, twenty years on from his debut, continues to push the boundaries of electronic music.

Next up on Church, the London label turn to Germanys Julius Steinhoff. As a label head himself, Julius has crafted an undeniable sound that resonates deep within the underground scene, and one that fits well within the Church ethos.


The Forgotten Garden EP kicks off with the title track , a deep and moving house cut with a driving bass line taking centre stage alongside reverb drenched vocals. 'To Your Care' welcomes a sunrise triggering piano part, deep with orange is floats elegantly around an irresistible drum groove and rising bass line.
'So Very Close' again features the punchy bass line, trippy vocal snippets but with more of a rolling groove for the B side. 'Gonne Be With You Forever' takes its all a little punchier and minimalistic, carried by deep and emotive synth lines it closes the show in fine form.

Kognitiv Records is about music that connects with the listener on a deeper level, evoking emotion. Music plays a large part in so many lives and guides us through all emotional states as a form of therapy. So join us for your own Kognitiv Therapy.

Label boss DeVante delivers the third release for Kognitiv Records titled “Experimental”. He has invited Italian powerhouse duo Marvin & Guy to remix.

“Experimental” is a track that follows the storyline of an experiment. Whether it be a social experiment or science experiment, the emotional journey can be very similar. Feelings of uncertainty, tension, suspense, contentment and/or grandeur feature throughout this track. DeVante allows listeners to take their own journeys through all his tracks, so have a listen and find out where “Experimental” takes you!!


Marvin & Guy are making waves worldwide for their signature sound and it is an absolute pleasure to welcome them to Kognitiv Records. The boys have delivered a gem of a remix suitable for all occasions. Not only is it a great track to listen to in your day to day life, their remix tears the roof off a dance floor. Marvin & Guy have a strong ability of fusing current musical trends with nostalgic 80’s sounds and we love everything they do. We are sure you will too!

“Experimental” is Kognitiv Records first venture into the world of vinyl. There are very limited copies being pressed, so be sure to grab yourself a piece of Kognitiv Records history.

Kognitiv Records will donate a percentage of profits from every release to a different mental health charity in an effort to create further awareness and provide support to people suffering from mental illness.

Like many Canadians, Joseph Shabason and Ben Gunning like to untangle themselves from urbanity and disappear up north a few times a year. Unlike other cottage-goers, Ben and Joseph don’t while away the ur-time on jet-skis and lounge on docks reading pulpy mysteries. Instead, they bring a car full of synths, drum machines, saxophones, guitars, samplers, effects, and recording equipment to jam the days away in a cabin-fever inducing haze of wood smoke, cedar musk, hot wires and jazz sweat.

Muldrew, recorded on the northern Ontario lake by that name, is the culmination of several years of this collaborative tradition. Resisting their penchant for composition and arrangement, the duo embarked on this project with only an open framework that encouraged restraint. The result is a sparse and improvisational album, hung on enough structure for each song to evoke a distinct, albeit ambiguous mood. Space is paramount and even the most digital elements breathe with the resonance of the room and mingle with creaking floors. The resulting album is steeped in the placid stillness and northern ambience of a lake at dawn, and the emotive expanse of a forest at dusk. Imagine an ECM cottage-series, or Jon Hassell and John Martyn scoring a Bela Tarr film set in rural Canada. This is the future-proof music of metropolitan polyglot minds invigorated by nature’s mute refusal to follow a click-track.

DMM Pressing. Limited Edition of 500.

Juan Ramos opens his debut album with The Problem With Ambiguity and Finding Space—speaking to a societal confusion, a fragmented sense of self, and a pull toward many (often unwelcoming) directions—this turmoil in which he’s spent considerable time, sees him invest grave efforts to express the inexpressible. Changing Hands is a time capsule of that dark period in his life, an overtly honest musical diary which puts his emotional coming-of-age on full display, hoping to reach kindred listeners. While his previous output for the ESP Institute used a certain level of complication to push limits on the dancefloor, this immersive work cuts deep in to a frayed psyche, dismantling our preconceptions of Juan and plunging listeners deep into a stew of jarring textures, incomplete phrases, and circus-like abstractions of pop culture. There is a nonchalant and unhurried experimentation that accumulates over the album’s first half—disconnected and anxiety-riddled personality traits constitute various musical roles, sporadically converging in fleeting moments of optimism although never fully climbing out from the abyss—and yet amidst this chaos there is a watershed moment in which the artist successfully gleans a golden morsel of hope from his emotional junkyard, guiding us across the threshold into the album’s second half while diligently protecting the glow of this rock bottom treasure. Juan begins to reveal his inner b-boy—a distorted view on golden-age Hip Hop roots, an affinity for muddy break-beats, sultry loops and metaphoric interludes—the crown prince of a newly-found safe space. It’s as if he had us searching on all fours for a misplaced joint, but now that it’s finally lit, he assures us that everything’s going to be alright.

It had taken him almost three years to record, but in 1985 Jake Hottell finally finished his debut solo album, Break The Chains. Inspired by his opposition to fracking, anger at government corruption and a series of profound spiritual experiences, a hundred copies of the album were pressed and given away to radio stations, friends and local business interests in Hottell’s home state of New Mexico.



The album would have remained an obscure footnote in musical history had it not been for the efforts of DJs Danny McLewin and Jeremy Spellacey. Between them, they tracked down Hottell to hear his story, offering the former electronics engineer and Nashville-based music producer the chance to get his music to a whole new audience. Now, some 34 years after the private press edition was produced, Spacetalk is giving Break The Chains a full release for the very first time. Hottell began recording the album in 1982 after reading Your Body’s Many Cries For Water, a best-selling book by Dr Fereydoon Batmanghelidj about the health benefits of clean, purified water. Remembering the poisonous, methane-laden water that came out of his mother’s taps in the 1970s – a by-product of extensive fracking activity in the area around the family farm – Hottell wanted to create a set of tracks that registered his concerns, reflected his recent spiritual experiences (many of which he still finds it difficult to discuss today) and offered a meditative listening experience.



The resultant set is suitably cosmic and emotive, with Hottell cannily fusing gentle drum machine rhythms and dreamy synthesizer motifs – influenced, he says, by a love of the contemporaneous new age output of former jazz label Windham Hill Records – with his own glistening guitar passages, which sit somewhere between the homespun riffs of country music and the classical guitar solos that have long been a sonic staple of Spanish styles such as Flamenco. Many of the tracks have stories attached. “Horizon” features a profound spoken word vocal from local man Darald McCabe – whose homemade purified water helped Hottell recover from serious illness – while “El Rio dos les Delores” was composed after discovering that fracking was taking place on a local Native American reservation. “The Truth Is All I Want”, meanwhile, reflects Hottell’s growing exasperation at the extent of corporate greed and government corruption in the United States.



This new edition of Break The Chains has been painstakingly re-mastered from the original master tapes, while extensive new liner notes shed light on the remarkable musical and personal experiences that inspired Hottell to create an obscure, overlooked classic.

talo-Iranian producer Sciahriar Tavakoli, commonly known as Sciahri, after releasing on renowned label as Ilian Tape, Mord, Opal Tapes/Black Opal and MANHIGH finally presents his first long playing record “Double-Edged”, and he does it on his own imprint, Sublunar Records.

The LP is an extended, carefully compiled exploration of the many facets of his signature sound, where emotional melodies collide with dense and rasping basslines.

The artist aims to express emotions with unsettling simplicity, showcasing techno compositions that are both thoughtful and primal.

Within the space of ten tracks, Sciahri’s sound design reveals his structure, pushing the listener through a labyrinth of textures and rhythms.

Karen Gwyer returns to Don't Be Afraid with her first new work since 2017's Rembo LP, which gained critical acclaim for its powerful body music and melancholic melody led pieces. Man On Mountain EP is a further evolvement of the duality and nuances in moods and emotions that make Gwyer's music so impactful. Resetting, rebuilding and subverting atmospheres and rhythms is a constant in her music and Gwyer builds on that more in this latest instalment.

The low swung weight of opener Faces On Ankles' bassline is full of suspense, alternating between rolling fluidity and unpredictable kick patterns, while a dubby melody dances alongside glossy, introspective arpeggios. The EP then weaves suddenly into cosmic drone that snarls with tension and desolation on Ian On Fire. You can sense contrasts between these two musical spaces – luscious, bouncing techno that nods directly to Gwyer's Midwest upbringing (Faces on Ankles, Cherries On Shoulders) and darker drone experiments where light peeks through the composition that adds balance to the mood, (Ian On Fire, Ribbon on Neck). Gwyer's music takes a different path with each record while holding onto elements of previous incarnations of her sound and Man On Mountain adds new dimensions to the bold and open minded spirit she embodies.

Long time underground innovator Illja Rudman returns with "Sagittarii", a fourth fantastic studio album and his second on Bearfunk.

As boss of both Red Music and Imogen Recordings, as well as being a skilled DJ and diverse producer, Rudman has been an integral part of dance music for years. The Croatian effortlessly veers from electro to disco to house with his own colourful sense of melody and club-ready grooves and has done so on more than 70 releases on labels like Classic, Rong, Electric Minds and Is It Balearic Recordings. This superb new album lands just a year after

his last, "Paradigma", and is another subtle evolution in his style but one that continues to deal in authentic analogue textures with flashes of throwback funk and disco gold and a slick sense of boogie.

Things open up with the glistening future-retro chords of "Dreamscape Planet" a quick,upbeat cut that is ready made for dancing in the sun with its majestic strings and nimble basslines. "Cosmia (Regal Mix)" is another bit of engagingly urgent disco funk with clipped drums racing along beneath heart melting chords. The stylish "If I Keep My Eyes Closed (Mezzanine Mix)" slows things down, with a snaking bassline and wallowing chords making for more cosy and intimate listening while "Synthia 2000" is a more playful cut with wiggling bass and withering chords that bend space and time as you get down and boogie.

The gorgeous glossiness continues with another tight bit of disco-funk lushness on "6th Floor Entrance (Guardians Gate Mix)" and "S.O.S. Flight Theme" serves up some rugged bass lines and mad xylophone patterns on top of corrugated drums that will get any club in a spin this summer. Closing things down in the tropical tinged exotica of "Techniques & Tactics (Nocturnal Mix)" with its long legged drums, blissful Balearic vibes and superb sunset stylings.

This is an album that brims with cosmic disco energy, emotion and excellence from start to finish.

Roman Poncet's 2018 debut LP stands an impressive work in its own right. Now Figure has invited a group of artists to contribute new takes on standout album cuts. Some clearly for the floor, some nestling on its verges. But all adding to the unique Gypsophila-vibe.
Antigone turns in dust shaking flurry of tribal drumming, ceaselessly pounding and rattling away for an exhilarating and at the same time grounding rhythmic experience.
Wiggling and squelching, Efdemin blends a bunch of lively elements into one wildly roaming remix, which despite all its inner momentum retains an orderly structure, testament to the artist's extraordinary production skills.
On the flipside, Margaret Dygas adventurously goes on a trip of finely tuned acoustics, patiently letting each sound grow into what becomes an enthralling piece of enchanted electronica. Evocative, emotional and of serene beauty, Echoplex closes the collection with an epic track, led by grand strings and flute-like synths, begging to be dropped at the break of dawn.

Check! Brand new EP by The Abstract Eye, the L.A.-based producer also known as GB (Gifted & Blessed), Frankie Reyes and a few other monikers, **Very LTD release !**

Although he is known to have an incredibly wide range of stylistic approaches, he is probably best known for the music he makes for the dance floor. His classic releases Cool Warm Divine (Valentine Connexion) and GB Presents: The Abstract Eye (Eglo) have solidified a unique analog electronic sound of his own as The Abstract Eye that he further explores and expands on in these six pieces. This record displays a diverse range of emotions, textures, rhythms and colors, sounding like it could have been made any time, past, present or future. While simultaneously staying open to the ever-changing world of music and also observing the current record industry in which many factors besides the quality of the music itself seem to take precedence, The Abstract Eye asks the question, what's real anymore? For him, it comes down to the feelings this music evokes. That is as real as it gets.

When South-Americans gather, many things can arise, but one will be certain: it
will be intense. It could be it a party, a conflict, a work of art or an EP such as this
one that involves a Brasilian label releasing a collection of eclectic, dark and deep
electro-boogie and post-punk by a Colombian artist. Gladkazuka is the guitarist
on Matías Aguayo’s pan-american ensemble The Desdemonas and here he offers
us four slices of synthetic trunk funk on Gop Tun’s label. Each one of them are
guaranteed not only to entice sensations of all types and provoke emotions of all
kinds but also with the intensity expected from such a combination and required
for maximum fun.

The Portuguese say that ‘saudade’, the emotional state of nostalgia and the emotional thrills it can trigger, is an extremely powerful thing. It’s certainly hit Tom Trago hard in recent times, with the Dutch producer naming his new self- released single – his first since 2017 – after this distinctively warm and fuzzy heightened emotional state.

Trago’s nostalgia pangs were a direct response to his new life on the Netherlands’ North Sea-facing West Coast, a move that provided the musical inspiration for his 2018 album “Bergen”. While happy in his new home studio, Trago found his mind wandering back to countless happy days and nights spent jamming with friends and contemporaries in his basement studio beneath Volkshotel in Amsterdam.

“Saudade”, Trago’s latest single, was made during one of those all-night Amsterdam studio sessions alongside JP Enfant, a DJ/producer best known for his residency at De School and releases on his LET Recordings. The A- side “Main Mix” fizzes with excitement and the possibilities of the night ahead. Sentimental, emotion-stirring chords, lilting lead lines, chiming melodies and ecstatic electronics rise above a chunky, hot-stepping drum machine rhythm. It’s nostalgic but immediate: a musical marriage of two giddy producers living for the moment.

On the flip you’ll find the “Ambient Mix” set to soundtrack slow-burn sunrises the world over. All immersive synthesizer chords, yearning musical motifs and seductive melodies, it sees Trago delivering a suitably tactile and loved-up soundtrack with which to usher in the dawn of a new day.

Having just announced his first solo Ibiza residency, Dance or Die, Nic Fanciulli continues his impressive run of form with a long-awaited debut on Crosstown Rebels. Entitled Miracle (Body Rock), the two-track release includes a stunning remix from esteemed UK talent Paul Woolford.

Beginning things in fine form is Nic Fanciulli’s original Miracle (Body Rock). Whispering percussion combines with the subtle plucking of guitar strings, as echoing vocals are layered underneath soft,
moving pads to create a well-rounded, moving number. Paul Woolford’s Endless Bassline remix comes next. Stuttering hi-hats provide rhythm as the titular rolling bassline chugs on, whilst toneful piano keys merge with reverberating, soulful vocals. Unique, yet staying true to the original, the addition of distorted
claps helps create the perfect dancefloor cut; but it is the re-singing of classic Jomanda’s ‘Make My Body Rock’ vocals that links both tracks in a moving, emotive fashion.

A name synonymous with electronic music culture, Nic Fanciulli is a DJ, producer, festival curator and
label owner whose career has spanned two decades. It was in 2005 that Nic founded Saved Records, an
imprint that is now synonymous with releases from some of the scenes greatest, including Adam Beyer
and Hot Since 82. But it was his latest release on Rekids, titled Understand, that further cemented his
reputation as a standout music producer, with a clear-cut ear for the perfect dancefloor melody. Paul
Woolford is a veteran of the UK’s electronic music scene. A prolific producer who has used many
aliases, the British talent has recorded five Essential Mixes for Radio 1 as well as holding down a nine-
year residency at Space Ibiza. His recent releases demonstrate his continued talent for producing,
including You Already Know, Hang Up Your Hang Ups and Story of My Life on Hot Creations.

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

Following Jaguar Mirror [c.2016] and Night School Of Universal Wisdom [c.2017], psychonaut Thunder Tillman and his personal shaman Pontus deliver another sublime EP, completing an illustrious trilogy with arguably their most expansive work to date, Condor Sunower. The title track is emotionally overwhelming, a drum procession that carries a righteous battle hymn to epic heights, accumulating primitive instrumentation, ceremonial chants, emotive chord changes and Beach Boy harmonies before exiting on a tear-jerking coda. The intermediary track Sväva is just as vulnerable, a modestly-arranged and leisurely-paced lullaby, where angels coalesce with a droning organ and eventually unfurl into the warm glow of rapture. Before we hit rock bottom, Thunder and Pony halt the elevator, abandoning any sense of melancholy and climbing to new heights with Creation Discoteque, an 11-minute Prog beast that chronicles a myriad of their musical adventures. This retrospective of altered states does seem designed to drop the curtain on their meticulously-crafted narrative, but not without foreshadowing their future and throwing in an air-shaking rave-up that sprints toward the nish line. What we nd enviable, spanning 3 glorious Thunder Tillman EPs and short lms, is the duo's creative simpatico, something that many artists in collaboration never truly behold. It's not their joint musical intuition, their intrinsic understanding of one another's craft, or even the power of their improvisational tether, but their spiritual alliance that nobody can touch. It's as if they share a tandem bicycle ride on the highest plane of consciousness to lounge in the members-only spa where they telepathically discuss secrets of high-grade musical alchemy

BNJMN's penchant for ambient music is showcased here across 8 tracks for his Tiercel imprint. The collection, made across multiple sessions over a 3 year period, documents various aspects of the sonic world BNJMN inhabits. The ongoing project demonstrates the lighter and darker, yet always emotional side of the Berlin resident. Limited edition cassette and digital release. Mastered by Inland. Artwork by Youvalle Levy

Where To Now? Records present the debut release from Akiko Haruna. Akiko’s world is one where cacophonic distress lingers, shuffling itself over scapes of percussive damage and driven groove. Akiko presents a fresh take on the current Technoid function through her use of emotive and intentionally disruptive vocal chops and a dizzying ‘wall of sound’ approach to the dancefloor, consuming all yet somehow keeping vibes alive.

Akiko’s artistic background is primarily in Dance, and undoubtedly this performance led background has had an acute impact on her approach to melodic detail & storytelling. Akiko’s tracks rapidly shift & morph states, always restless and searching with fluidity and intent. From the ever present Micro Electronic details to sweeping swathes of Bass flutter the notion of progressive movement remains at the forefront of her sound, minute elements of detail become briefly isolated, intentionally directing the listener to their subtle presence.

‘Delusions’ Leads with ‘A Mother’s Love’ and begins a theme of resentment and dissonance. The Japanase vocal cuts throughout the track roughly translate to “you should die”, here obviously flipping assumed and supposed relationship rules and roles and exposing an inner turmoil, reflected through a continuous anxiety ridden, almost panicked siren detail which pulses over Akiko’s heads down, deep and uniform forward march.

‘Husband Established’ and the opens with the emotive vocal line “I just hate your Voice”. This is the sound of a poisonous & damaging relationship hurtling towards combustion, where Akiko’s elements gather momentum and impact as layer upon layer of detail pummel and puncture this heightened state, pausing and spiralling to evoke a standoff of aggression and imminent outburst. ‘Husband Established’ stands as a frankly stunning piece of sound design, which manages to capture a raw human emotion, and provide release for the associated junk, stress, and occasional banality of Relationship angst.

‘Hetero’ picks up where ‘Husband Established’ finished, further exploring societal character types and submissive gender tropes that are thrust into our sub consciousness from day to day. The concept of Hyperreality and its themes are continuously explored within Akiko’s practice and It would perhaps be fair to say that these themic explorations within her Music are Akiko’s own outlet for traversing human relationships within a complex, heightened, & layered reality, and it is certainly Akiko’s intention for her audience to feel some kind of relief and release within her sound world. Sonically ‘Hetero’ is a much sparser, subtler affair, where swathes of sampled voice & machine swing in and out of focus, against a weightless backdrop of affecting isolated electronics.

The EP closes with ‘Ripehus Alley’, seemingly void of any deeper meaning or message this serves more as a dreamlike parting song to what is otherwise a highly charged collection. Floating itself away from a frantic & incomprehensible world into a calmer space for final thought and reflection. ‘Delusions’ is a complex, exploratory trip, one which fans of Logos, Fis, Alva Noto, Jlin, Jesse Osborne-Lanthier etc will relish exploring.

As with the first SchleiBen series, Emotional Response follows the success of the second set of split releases with a stand-alone album by one of the highlights, in Neil Tolliday.

Recorded over a 17-year period, the ambient, drone and noise pieces collected here offer a glimpse in to the depth of a supremely talented, thoughtful and at times, troubled musical mind.

As his love for house music and the success of his Nail moniker grew and waned during the ascent 90s boom, there followed his somewhat surprising success as one half of Balearic-pop combo Bent, propelling Tolliday in to a world of indie-charts and endless touring. The eventual unhappiness of this 'music career' and increasing need for personal escapism led him start experiment new musical forms of expression.

A thinker and oft-over drinker, success was viewed with a deep suspicion and introspection, drug use and later, depression. As his other music projects slowly imploded, this new, personal music was for many years, made purely for Tolliday's own absorption and comedowns.

Taken from an initial 4 track recording in Nottingham in 2000, more pieces were subsequently recorded around the globe on numerous devices - old portable cassette recorders, hand held digital stereos and even mobile phones. These heavily manipulated samples were slowed down, reversed, smudged and stretched before analog and modular patching, Mellotron, editing, programming and post production were added to the melting pot.

With hundreds of tracks collated, in the last few years Tolliday began putting them out via Bandcamp using different aliases, on made up record labels, with no press or mention to anyone. This would happen every 6-9 months - a new label was created with logo, band/artist names and a few albums worth of music, leaving it there for a few weeks before then deleting the lot.

Here then is a snapshot of those recordings, chosen to represent the depth of music, while trying not to think too much about in to the emotions that were used in making them. With special hand painted artwork by Sam Purcell, commissioned from the artist's own photographs taken from a adjournment at Homerton hospital, the hope is to do justice to such wonderful music and present Neil Tolliday, finally an artist, shorn of pseudonyms, in a broader light.

The Second EP from Hyper On Experience gets the remaster and remix treatment for Kniteforce Records. All the tracks have been lovingly remastered, and the artwork is a riff on the original EP too. This is the second of 4 Hyper On EPs to get this special repress treatement, and then they will be followed by Lord Of The Null Lines (4 brand new remixes) and Disturbance too – plus new Hyper On Material. But for now, enjoy this classic EP from back in the day, and the brand new remix of “A Certain Emotion” By Dj Luna-C!

In a landscape increasingly dominated by surface-level sonics and a lack of true organic – man-made-machine-driven - sound, the newly found and London-based Gaia Tones project rises with an unforgiving grasp over the science of improvisation and mystery. Like a gust of wind from Mother Nature herself, the duo comprised of John Swing and David Soleil-Mon breathe a new, highly perceptible form of life into the UK’s long ‘dub and ‘bass’ dynasty.

Contrary to the consumer plastics found across much of the ‘digital’ musical spectrum, the two artists impose their own vision and aesthetic to a framework of sound that has somehow always existed but never fully explored before. Heady, stoned-out and surely emanating from physical matter, their two debut tracks are set to redefine the standards going into the next decade.

The A-side “Lychees”, stutters its own brand of dread paranoia over a sea of complex, morphing percussion that together create a whole new palette of exploratory sound, loosely tied up into a hazy, nomadic groove. On the flip, “Wonkadonk” feels like its natural extension, evolving that familiarly off-kilter assembly of drums to work around a devotedly dystopian swell of bass that pushes further and further out into the ether.

In the end, the universe tends to unfold as it should.

Label artwork by Egidio Sterpa

A cryptical presence hiding behind many different aliases spread across a range of underground labels: co-owner of LiveJam Records alongside EMG, John Swing begins producing with a live and spontaneous approach that pushes the boundaries and general conceptions of club music while digging deeper into the techniques of the past.

The production process through ananlog equipment that John Swing so strongly supports with an uncompromising attitude is the key to his underground success and esteem.
With a back catalogue of over seventy releases including collaborations with established artists such as Mr. G and Ben Sims, the London based talent has been receiving recognition by established artists including Floating Points, Gerd Janson, Levon Vincent, Theo Parrish and many others.

Inspired by London's Plastic People and it's bonding vibes, through a well refined spectrum of musical knowledge John Swing engages with the dance floor in a physical yet emotional way: the strength and power of pure house is blended with black soul music in a constant crossover between underground aesthetics and cherry-picked funk and disco. His subtle understanding of the dance floor guarantees a deep-rooted experience for the mind, body and soul.

Walls, Corridors, Baffles is the debut album of Swiss musician and producer Samuel Savenberg aka S S S S. Following various releases on Haunter Records, aufnahme+wiedergabe, and Hallow Ground, his LP on Präsens Editionen tries to find an approach to an artistic expression beyond tropes of darkness, harshness and excess. Thus, the aesthetic of Walls, Corridors, Baffles is radically and uncompromisingly sober. Instead of focusing on a conceptual or symbolic treatment of sound as an abstraction, Savenberg emphasizes its materiality. The album consists of eight pieces strung together into a manifesto which calls for a febrile embrace of an unheard-of, intense sobriety.
In Walls, Corridors, Baffles, unadulterated percussive force meets an astoundingly precise and frugal vocabulary of electroacoustic sounds, as for example on the opener “Deserter”. Passages extended over long melodies invite the listener to lose oneself in the contrastive emptiness. Central to the work are the affective qualities of the music which lapses only at moments into a more defined emotional quality – as on the final track “Nothing But the Circulation of Air”.
*Edition of 300 copies

Any historians keen on the subject of "French youth in the 1980s" are holding a treasure in their hands. As a true archaeologist of this decade dedicated to disposable culture, digger-in-chief Vidal Benjamin with his newest compilation, 'Pop Sympathie', offers them a unique journey in the heart of the cyclone of emotions that struck all teenagers during the first seven years of François Mitterrand's mandate. Fifteen musical nuggets, exhumed from the dungeons of history, each and every one of them teaching us about what really obsessed the youngsters at that exact moment, i.e. what happens when the city lights come on at dusk, when irrepressible urges that stir them to get lost even more appear until the end of the night.

The artists gathered here did not have the honour of breaking into the local charts, but they all individually reached for the sky. Each song of 'Pop Sympathie' tells more or less the same story: that of a girl who throws herself into the night like one immerses one's self into the void, who rushes into a one-night adventure to become a star. And too bad if in the early morning she finds herself back at square one. In all these miniature odysseys there is neon lights, lasers, smoke machines, broken glass on checkered tiles, strangers on leather benches, celebrities in the bathrooms, stolen kisses, alcohol, drugs and cigarettes, Polaroids, venetian blinds and radioactive tubes.

If the first opus of Vidal Benjamin, 'Disco Sympathie', focused on the funky mood of songs that could have been played at Le Palace, then 'Pop Sympathie' develops itself as the imaginary soundtrack of another nightclub, Les Bains-Douches, the capital’s epicenter of nocturnal drifts. So what do we listen to, blasé, at Bains-Douches? Mainly synthesizers. The child of punk and post punk, French New Wave celebrates the matrimony of machines and lolitas under the auspices of a retro trend that revisits the atomic age. Trying to surf on that wave and hit the charts, a bunch of producers (Stéphane Berlow, Laurent Stopnicki, Bernard "Black Devil" Fèvre, Johny Rech, Jean-Yves Joanny ...) will spot their talents amongst friends, in a travel agency or at the local bar. These virtual stars are called Cecilia, Laurent, Sonia, Janou, Fabienne, Anne, Arielle or Ronan, not even 20 years old, and often leaving just an overexposed photo and their first name on a single as the only memories of their swift passage in this particular musical story. It took all the love and sweet madness of Vidal Benjamin to bring them back in the light of day.

Clovis Goux

Ahead of his second artist album on his own Millionhands label in July, Tee Mango teases with a fantastic first EP taken from it. The album finds the UK artist stretch himself with a dazzling array of soul drenched, fully fledged songs featuring his own singing and that of Detroit legend (and Moodymann collaborator) Amp Fiddler.

The sound, very much influenced by early Prince and even a little Bon Iver, combines effortlessly with that loose sampled MPC-house feel that you would associate with a Tee Mango production. It also comes with a seal of approval from Radio 6 Music legend Gilles Peterson and after EPs on the likes of Aus, Clone and Local Talk in recent years.

Opening up the EP, Amp Fiddler features on ‘Feels Like Whatever’. Dancing Rhodes keys, ooze jazz charm and float atop a simple house beat, while the Detroit legend’s emotive raw soulful vocal directs proceedings.
The heart breaking ‘No More Tears’ is an introspective sad soul song that shows another side to Mango’s skills. Tender chords, downbeat drums and vocal hums and coos all melt your very being. Last of all comes the dazzling ‘Lay Down (Disco Mix)’ with its slapped funk bassline, finger clicks and squelch synth work all topped off by an effortless
falsetto. This is a fantastic introduction to the full length to come.

Ape-X Records is the new label created by the people behind the Newcastle club party of the same name.

After 11 years of bringing global DJ talent to the North East of England, Ape-X is now turning things on its head and bringing the musical talent of the North East to the rest to the world.

Its first release features the debut release by the mysterious new spoken-word musician “MARSKE”.
“Hospital Corners” is as high brow as it is lo fi, and is difficult to describe beyond saying it shares DNA with House Music, Techno, No Wave and Beat Poetry
Production duties for the original track come from North East artist (and Ape-X’s Label Manager), Man Power.
The record also features an Instrumental version, as well as 2 incendiary remixes, from Spencer Parker (Rekids) and Boxia (Drumcode) respectively..

Over its 11 Year tenure in Newcastle, Ape-X has always followed its own uncompromising musical path, immune to trends, and with a distinctly northern personality.
As a result, a specific sound for the party will always remain hard to pin-point, but Luke and Gabe from the party best describe the sound of the label as:

“attempting to capture the unhinged moment in every party where the energy remains high, but the vibe can turn weird. Where the excitement and emotion are both balanced enough to let the DJ move peoples minds as much as they move their feet”.

Elossa Records proudly present it’s second release; PEU 2! PEU is Scandinavian Italo-Disco from Espoo, Finland. Emotional, serious and powerful music, produced by Lassi Jahnsson and Teemu Keisteri.

"One of the hardest thing as a musician is to maintain this naive, almost utopian and emotional approach to our music. Especially when it comes to a highly codified genre like Electronic music which appeared in the late 80s/early 90s like a promise of a bright future for music, everything sounding so fresh and revolutionary. When Katerina sent me those demos I heard that freshness, that pure intention, something I remember from discovering melancholic Detroit tunes in the 90s or early Warp ‘artificial intelligence’ compilations, bridging the gap between techno and more intricate electronica. It’s been a while since I didn’t hear an EP so sincere - and not JUST nostalgic, that makes me want to dance alone in my living room and forget about everything else. It’s a subtle thing that makes the difference but that difference is everything, it’s Music."

- Joakim

Cyberspeak multidipliscinary collective keep on programming. The second output from the label goes deep inside the restless character of Katatonic Silentio, a sound artist driven by cyberfeminism and queer culture who perfectly express the collective accellerationism. Emotional Gun is an half-stepping beats masterpiece, seven tracks crossing mystic territories full of pulsating soundscapes, apocalyptic and cinematic atmospheres with a painstaking attention to details.
Mixed at Zona9Studio
Mastered by TapewaveMastering

Ready for an adventure running parallel to their lives in common units, the quartet boarded a starship
to set off on an astral expedition. The mission began perfectly, according to plan. From the very first
measures, the travellers were released from the Earth's gravity. Very quickly, their home planet
appeared tiny and distant, before disappearing completely. Comets and novae lit the way through the
fathomless depths of interstellar space. Their preliminary, in-depth studies of seventies jazz-funk
were a great source of inspiration. Very early on, they knew that this sonic esthetic would allow them
to travel even farther, navigating only with organic instruments and no digital backing or
enhancements.
Commander Virgile Raffaëlli's bass lines guided their journey, offering a calm, yet vibrant foundation
for the smoother phases and turning up the power to bring them through turbulence and meteor
showers safe and sound. Like a compass, the bass indicated the direction and traced a groove that
the loyal, valued crew could follow as their travels continued. Mathieu Edouard's drums solidly
locked down the rhythm to avoid any sudden jolts, working in tandem with Erwan Loeffel's jetpropelled percussion. On the keyboards, Florian Pellissier drew harmonies and riffs from the
synthesizers and electric pianos to oil the machinery and lighten the load when the ensemble needed
to rise a few feet. The crew's almost telepathic cohesion was key to their success, allowing them to
express interior emotions with just a few notes.
Here is the last transmission we received:
"We have landed on an unknown planet and are depressurizing the airlock with help from subtle
horns and ethereal choruses so we can discover the new horizon. It definitely meets our
expectations! The desert before us holds the promise of new life. The warm yet fresh air is easy to
breathe. A vague psychedelic scent floats through the atmosphere, as if ready to spring from the first
flower to bloom. Dreamlike, mysterious, enigmatic yet familiar, we will call it Aldorande."

June Records presents their seventeenth release, ”Diataxis" by Ioannis Savvaidis, which is comprised of 4 recordings and their accompanying texts.

Diataxis is an audio interplay between Optical Networks terminology and the main artwork of the release. The sound is transmitted throughout abstractly and emotionally structured spaces.

Recorded live in Savvaidis’ studio in Athens between July and December 2018.

Instrument Of Change, the brand new label by Rotterdam's underground veteran Steven Pieters, brings together four producers who are operating on the fringes of house music. Mattiik (London) draws you into the depths of his inner realm with the infectious "Shadow Of A Former Reality". Nikolajev (Tallinn) showcases his unique lo-fi aesthetic on "Speks" where he skillfully drowns the listener in vintage synth heavy emotions. Labelboss Steven Pieters turns it up a notch with "Gamayun", accompanying a driving beat with shards of acid and uplifting strings. Chicago native Radius strips it down to the bare essence on the spaced out "Places Spaces (Solstice Dream Redux)". Solid deepness for the true heads!

"I love it. SO beautiful"
Josh Rosenthal [Tompkins Square]

Songs For A One-String Guitar is the debut instrumental acoustic guitar LP from Jonny Dillon. Better known for his analogue electronic music productions and all-hardware live sets under the ‘Automatic Tasty’ moniker [Lunar Disko, CPU, Wrong Island], Jonny’s records (bearing heavy acid and electro influences), along with live appearances at venues like Berlin’s Panorama Bar and Kiev’s Closer belie the fact that he has been quietly exploring the musical landscape of the guitar for nearly twenty years.

Recorded as a series of sketches over the last 10 years, Songs For A One-String Guitar represents a snapshot taken over a long exposure; one individual’s private response to a variety of currents and inspirations both musical and emotional. While informed in large measure by the world of Irish traditional music and song (of Sweeney’s Men, Planxty and Seán Garvey) along with that of primitivism and the American Spiritual (of John Fahey, Hank Williams and Mississippi John Hurt) these songs are equally a personal attempt to give expression to an inner landscape, from the experience of sorrow and loss to the promise of redemption and renewal.

The LP opens with ‘Turning Invisible In An Imaginary Rose Garden One-Evening’ a contemplative piece played in free-time; “I’ve been playing this piece for years, and it’s gone by so many different names in that time. It’s a sort of shoe-staring daydream, to my mind at least. I want people to disappear when they hear it, and think it suits the LP to open up slowly and reflectively”. While a contemplative strain underpins some of these songs, others are informed more directly by the experience of grief; “I wrote ‘A Requiem For Joe Dillon’ at the death of my uncle. He used play lots of wonderful songs of his own at family gatherings when I was a child, and while a very gifted and sensitive soul, was also troubled by his own demons. The last time I saw him alive was at my family home with my father; I was going out to see some friends and Joe called me back, gave me a hug and made the sign of the cross with his thumb on my forehead, to bless me. It still chokes me up when I think about it. A song of his ‘Light A Penny Candle’ I included to finish the piece in his honour.” A sense of longing and hope is present in other pieces; “Songs like ‘Again But With Feeling This Time’ and ‘Start Again (Carry On)’ come from a sort of hopeful yearning feeling which is always within me; a melancholic sort of joy in search of redemption. For me, music has the strange capacity to express contrary positions simultaneously; to console, redeem and offer transcendence while also expressing suffering and pain. I don’t know what any of this means, but feel as though I’m trying to find my way home by writing the same song over and over again.”

Songs For A One-String Guitar may seem to represent a departure for those who know Dillon for his electronic productions alone, though the reality is that these songs merely represent a new opening onto an old landscape; they are an invitation to more fully share in one individual’s yearning to find meaning through creative expression. “These songs are very personal to me, so there’s a certain nervousness in my seeing them released. I hope that they prove of some use, and that they do some small good to those who hear them.”

Everything On Time EP" contains works from a decade that underpin Sinistarr's unique and versatile musical style. At the heart of his second appearance on Defrostatica are two collaborations with label artists Kiat from Singapore and Agzilla from Iceland. While the original version of KNS features hectic and technoid synth arpeggios on tribal breakbeats, the 2019 rework is a cold fusion of autonomic halftime beats and gritty jungle breaks. Emo is Detroit Electro on 170 bpm with a sinister message embedded by Agzilla himself. The b-side opens with the playful Garden as Morgan Neimans voice blossoms in thousands shades of spring. Torpor marks the dramatic end to this release with the intent to mirror unfulfilled desire.