MUSIC

Before he became better known as Porn Sword Tobacco (PST), Swedish producer Henrik Jonsson released two albums under the name of Stress Assassin. Like his later oeuvre, the tunes are spacious, cinematic and multi-layered, influenced by the likes of Harold Budd and Tangerine Dream, but for this project there is additional guidance from Lee Perry and Moritz von Oswald.

Released on vinyl for the first time, Within the Office of Eye and Ear’s smoked-out ambience and blissful beats are permeated with melodic bass and cinematic space. Found sounds, floating voices and intermittent pops ripple amongst the sweet harmonies, lush atmospheres and pulsating basslines, creating a captivating other-worldly dreamspace.

As Henrik explains: “Made often at night in an attic in Gothenburg, it’s music I did in a world far away from today: the music was, and is, about not running along with a stress-y society soaked in TV, media and materialism, out of touch with the calm beauty this world gives us”

He certainly succeeded as Within the Office of Eye and Ear offers the ultimate stress assassination.

It is often said that we find it hard to stare at the light, however, the universe never lights out. This first premise from As Above, So Below is the base point for the setting of what follows. A group of rabble-rousing guerillères from the commune decide to go bowling. They had entered the forest, followed its winding paths, and emerged blind after staring at the universe for too long. No longer able to find their way by observing the stars, they now have to climb on the houses and feel the vernacular roofing to find out in which direction they’re heading. They get to the bowling alley all amped up. The punters insist on lighting their cigarettes - they’re not interested in matches but rather in the cardboard cover that attaches them. The only striking going on is the sound of the skittles getting scattered, syncopating with saturated basslines, mixed vocal techniques, heavy fx, and feeding into an arsenal of bells and percussions. They start stomping on the alleys as if this was a housewarming party and they had to break in a newly laid wood floor. Moving in circles, they eventually fall through it and end up in a room where the light has been swallowed. A band including none of its original members is performing, they can only hear a warm yet throbbing hum. They soon realise the massive rolling sub is getting louder and louder and adjusting its pitch. The dust their feet was lifting is slowly sweeping around the floor and gathering in patches and lines, drawing out the Chladni figures they had seen in their dreams, experiencing the same thoughts at the same moment, they inscribe them on a loquat leaf.

Jim Coles once again turns the tide towards a new horizon and travels further into the echo chamber. Leading on from the much-lauded ‘Secret Location’ mini-album with Seekersinternational, one-offs such as ‘Open Palms dub’ (Dub Stuy) and other teasings, ‘Acid Dub Studies’ is the fully-fledged result of the merging of the calligraphic expression of the 303 Acid bassline with the stern sway of Dub Reggae and the hazier edges of Dub Techno and Ambient music.

For those who have been paying close attention, this project will come as a welcome return to the vulnerability and playfulness of early Om Unit records such as his sub-radar single from 2010 ‘Lightgrids/Lavender’ (All City Records) or the unearthed chugging ambience of ‘Friend of Day’ (Idle Hands) and indeed in some sense draws from similar wellsprings as moments on 2013’s Bass classic ‘Threads’.

Whilst being perhaps an ‘interim project’ this is still a vital and important expression of exploration and playfulness. A study in the true sense and borne out of a subtle but pervasive frustration with the rigidity found in musical words he has up to now been cohabiting, Acid Dub Studies comes from the pressing need to break with perceived expectation and to explore an honest and natural space away from the genre labels and tags that had been often lazily applied to his sizeable catalogue of music.

With no desire to reinvent the wheel, rather to paint pictures in an honest framework, the LP was crafted using a medley of classic analogue mixing techniques inspired as much by the adventurous dubbing of Adrian Sherwood as by the inward-delving haze of Scott Monteith’s Deadbeat project. Created during a period of lonely introspective walks through his home town of Bristol, the cover art is a photograph of some of the iron kerbstones that are found almost exclusively in the characterful and hardy city which were installed in the late 1800’s to protect pavements from cart wheels. Something about the permanence of those iron slabs and cobblestones inspired a sense of comfort and determination.

Acid Dub Studies is due for release as yet another self-released label-free project leading on from recent EP titles ‘Violet’ and ‘Submerged’ both of which hinted at some of the shapes found in this full length album.

Once again Jim has shown a rare convincing adaptability that few electronic artists can embody. Another step on the journey of personal and creative curiosity that fans are sure to appreciate. 

Colombian-born artist Juan Carlos Torres Alonso, aka OKRAA, presents his third sonic exploration on A Strangely Isolated Place titled, La Gran Corriente. This album marks a profound shift in Juan's creative journey, where themes of portals, the illusion of time, and the paradoxes of self-discovery converge into a powerful auditory experience.

Following a transformative visit to Bogotá in May 2023, Juan underwent an introspective journey that inspired a new direction in his music. This experience, which he describes as an encounter with "an infinite current behind or inside of everything," led to a complete reimagining of his work. Abandoning previous demos, Juan embraced a liberated creative process that was both challenging and exhilarating.

La Gran Corriente is characterized by its innovative production techniques, eschewing fixed grids and BPMs in favor of fluid, organic structures and combining influences from Juan’s other production alias, ‘Laudrup’. This approach not only opened up new creative possibilities but also led to numerous "happy accidents," resulting in a body of work that is as unpredictable as it is cohesive.

At the heart of the album lies a poem written by Juan during production, a text that echoes the themes woven throughout the music. Translated loosely to English, the poem reflects on the nature of reality and time, with lines like "the land of oblivion is not real" and "the great current reminisces; time is an illusion." These words serve as both a guide and a reflection of the album’s deeper meaning.

La Gran Corriente is a record that invites the listener to unlearn and to immerse themselves in a sonic current that is both infinite and transformative. It’s a testament to the power of creative reinvention and the relentless pursuit of deeper truths through music.

Featuring artwork by Peter Skwiot Smith, La Gran Corriente is available on gatefold colored vinyl 2LP, mastered by Taylor Deupree / 12k Mastering, with full release on 30th October 2024.

WVLT is the newest sonic addition from WNDFRM (Portland-based, Tim Westcott), an album of eight distinct explorations of micro-rhythmic IDM.

Tim Westcott’s practice is rooted in an acute, nearly forensic attention to sound. Subtle tones, sculpted drones, and lean percussive gestures, always pursued with a patient ear and obsession with sound design.

With previous releases on Prologue, Home Normal, and Dragon’s Eye Recordings, and several live performances at Mutek, a new album from Tim is a rare yet welcome occurrence. The conceptual approach for WVLT began in 2021, mixing synths with drum machines and granular processing. Lightly arced structures slip between gates of rhythm, shifting pulses, translucent washes, and disquieting residue. There’s a precision to the hesitation and an insistence in the space between notes, a deft balance of raw improvisation and sculpted quietude.

An exercise in immediacy and response, each track builds and unspools, like form in fleeting motion, driven by the moment’s tonal contrasts, micro‑rhythmic interplay, and slight gestures that alter entire planes of listening. It’s minimal without sparsity, intense without density.

Available digitally and on limited transparent dark blue 12” vinyl on September 26th 2025. Mastered by Taylor Deupree @12k Mastering and featuring artwork by Noah M / Keep Adding.

‘Sun & Smoke’ is originally a 2-hour self-produced mix uploaded to Youtube and Soundcloud in 2018 by Greek artist, Theef. Consisting of unreleased productions, the set was uploaded as a safe space, with zero expectations of it ever gaining attention or release. After many late-night listening sessions, ASIP contacted Theef to discuss how a release might come to life. Originally consisting of 21 tracks in total –with two subsequently released on Morevi Records in 2022– ASIP had the honor of curating and sequencing an album from the remaining 19 unreleased productions, finally landing on those that best represented the intention of the original mix and the feelings it evoked upon those first moments of discovery. The appeal of Sun & Smoke can be found in its purity. Built with no intention or audience in mind, the album traverses core elements of deep techno, trance, and downtempo. Progressive atmosphere building, addictive underlying grooves, and expansive moments of euphoria; as a mixtape, Sun & Smoke is a zero-visibility haze of eyes-closed, body-moving, forward momentum. As an album, each track is now allowed the space to deliver on its own defining atmosphere. From the ambient beginnings of Sky Textures and the title track, Sun & Smoke, to the electro tinges of Primal Age, and the metallic swirls and glistening synths in Approaching Stars, the parts now have the chance to become greater than the sum of its original whole. Mastered by Giuseppe Tillieci (Neel / Voices From The Lake) with artwork photography by Juan Fernandez (edited by ASIP), Sun & Smoke is available on Transparent Red/Orange Smoke Gatefold 2LP + digital.

Alek Lee’s Cold Feet is a rich, instrumental blend of dub, Balearic disco and smoky psychedelic grooves. Swirling synths, layered percussion and sunlit guitar lines flow through cinematic moods, from the title track’s slow-burn sway to the summer dub lift of ‘Was Was Was’. With two decades of DJ sets, live shows and idiosyncratic productions behind him, Lee delivers his most transportive statement yet.

Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.

Yes! Tommy Guerrero’s revered Return Of The Bastard gets its first ever vinyl reissue. Endearingly simple but beautifully beguiling, it's lo-fi dusty break business with the most elegant guitars this side of Vini Reilly and Gabor Szabo. Tommy's breezy drum-machine guitar-soul should be prescribed to soothe an aching world. By rights, he should also be a Balearic god. Here's 14 tracks of drop-dead laconic beauty, all of them combining to create this unheralded masterpiece. Working with Tommy directly, the LP has been fully remastered and sounds as dazzlingly, heartbreakingly beautiful as it did back in 2007.

CS + Kreme’s utterly sublime 2nd EP is mercifully made available again, doubling down on their brand of melancholic tristesse with achingly beautiful songwriting gilded by Conrad’s serpentine basslines and elevated by Sam’s slinky atmospheric suspense, with cameo by HTRK’s Nigel Yang. Partner to their 2016 debut, ‘EP2’ can be heard as the other half of what is effectively an album when paired with their eponymous first move. It is a masterclass in slow, dreamy world-building that skilfully distills myriad modes of downbeat suss into songs that warrant play on repeat - just ask any owner of the record or those who’ve drooled over it for nearly a decade; the verdict will surely be unanimous, harmonious. One of a clutch of modern classics on Total Stasis along with likes of Elysia Crampton’s ‘The Light You Gave Me To See You’ and early Ramzi joints, ‘EP2’ would stealthily reveal new aspects to strains of modal downbeat sound that can be heard in context of DIY folk, new age ambient or adult contemporary, and with faintest echoes of off-peak club music in the rearview. But the real magick lies in the way they pare everything back to its most salient substance and allow it to breathe, sway, get lost-and-found in itself. Fair to pick fan fave ‘Roast Ghost (Swimming Thru The Pillars Mix)’ as a highlight, practically undressing the senses with 9 mins of candle-flicker 808 and purling bass with Conrad’s vox luring deep into its glowing lustre. Yet the rest is equally midas-touched, from Nigel Lee-Yang’s plaintive guitar motif on ‘Whip’ firming up the HTRK link, to Sam’s dub wise tekkerz coming into play like prime Massive Attack on ‘Sisters’, and again with Conrad’s bass rolling down the off ramp ‘Portal’ into billowing keys, congas and Jack Doepel’s sax like some detail of a panorama described by The Necks and Bohren Und Der Club of Gore. Don’t sleep, you may be waiting another 8 years…

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell. 

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.” 

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”. 

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents. 

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’. 

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell’s music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.  

A new set of drifting electronics and meditative new age sounds from Khotin under his Area 3 project.

Khotin by Vancouver producer Dylan Khotin-Foote is a reissue of the cassette release that sold out instantly at bandcamp in 2018! The profound ambient sound is a chill-out refinement of the unfathomable depth of the previous work, which is both immersive and sleepy, and has been beautifully incorporated into the lo-fi feel of the artwork while maintaining the vibrancy of the spiritual & naturalistic sound world. This is a masterpiece of beauty that cannot be described in words, with a profound sound world that creates a dreamy fantasy land on a windowsill in broad daylight, only to sink into the border between Hades and reality. A masterpiece of unspeakable beauty. Highly recommended for all music lovers from new age to ambient and Balearic.

You can't just soak it in and sleep to it, you'll melt. From "Mood Hut" to "1080p" to "Summer Cool", Khotin, a popular Vancouver producer by the name of Dylan Khotin-Foote, has taken over the charm of the cool house coming out of Canada. The cassette, which sold out in 2017 on Bandcamp, has been reissued with 2LP! It's a lone ambient sound with a sweet layer of synthesizers drifting with dreamy ambience, a gentle beat with a hint of sanctuary, and immersive concrete sounds floating in the air. This is the culmination of the lo-fi house movement. A mysterious sound with an unfathomable depth. If you like ambient, deep house, new age, or Balearic music, this is a must have!

大人気ユニット、Salamandaの片翼！韓国・ソウルを拠点に活動するプロデューサー／DJ、Yetsubyによる最新アルバム『4EVA』が、UK新興レーベル〈Pink Oyster〉の第1弾として登場。ブレイクビーツ、フットワーク、ジャングル、IDM、アンビエント、クラブ・ミュージックを自在に横断しながら、デジタル／アナログ／アコースティックの音響を緻密に編み上げた全10曲。遊び心溢れるサウンド・デザインと、内省的かつ親密なムードが共存する、Yetsubyのソロ作品として極めて完成度の高い一枚です。限定300部。

Guangzhou-based producer and DJ COLA REN released her debut LP, 'Hailu' in June 2023, a fulsome ambient, balearic, and downtempo brew with a gorgeous sense of melody and spirituality that offers a soothing escape. To celebrate the release, we have invited 8 talented musicians to the enchanting realm of ‘Hailu'. This remix compilation serves as a metaphorical exploration akin to the "Chakras," symbolizing the diverse energy centers within the human body. Through the collective reinterpretation of Hailu's original composition by 8 musicians, each imbuing it with unique hues and symbols, the remix reflects varied spiritual essences and elemental qualities.

Julien Dechery, expert digger behind the sublime ‘Sky Girl’ comp and survey of Ilaiyaraaja’s ‘80s Tamil film music, supplies a second mixtape for Good Morning Tapes, this time shifting focus toward North India and covering songs and scores drawn from films rooted in Hindustani classical, Devotional, and folk traditions, reframed through a downtempo, trip-hop and ambient perspectives during the the mid-1990s to 2000s.

‘Warmth in Cool’ revisits the parallel paradigm of downtempo film music for a beautifully transportive raft of melismatic vox, FM synths, sitars and balmy downbeats calling to mind everything from a North Indian answer to Kate Bush and Peter Gabriel to Ganavya’s new age spiritual jazz-fusion channellings of Alice Coltrane.

The vibe palpably seduces to the horizontal with a flawless tapestry of romantic film cues and new age synth diversions, immaculately arranged for psychic immersion and spiritual alignment. Definitely one for the lovers, and fans of Time Is Away or DJ Sundae’s finest, storytelling mixtapes.

Some marriages are made in heaven and this is definitely one of them. Two of the great ambient masters of recent times concoct a stunning EP full of spine-tinglingly beautiful moments, subtle rhythms and soul-soothing tones. Echoes of Ry Cooder and Eric Satie mingle with found-sounds and warm electronics to create a landmark of ambient exotica.

Jim Coles’s fifth instalment of his best-selling ‘Acid Dub Studies’ series arrives in the form of the third set of original works exploring the infectious sound of the 303 bass-line in a dubwise setting. The album takes in traditional dub mixing approaches in a digital and roots/digi-dub style whilst also making space for more electronic and ambient processes to close the project.

‘Acid Dub Studies III’ arrives after 2 years of touring the material in a live setting at festivals and clubs including CTM at Berghain, Les Nuits Sonores, and Andrew Weatherall's Convenanza festival and is the culmination of some 5 years of experimenting with a style that has been met with critical acclaim, reaching far and wide into many a DJ’s box having been noted by some as a truly ground-breaking approach to working with the 303.

“Horizons” is an album by COMPUMA, developed from his 2023 digital-only “Horizons EP” released via Bandcamp. Inspired by his roots in Kumamoto and the landscapes he encountered during walks in various locations, the album captures the calm and comfort of everyday life. Blending ambient, downtempo electronic, and imaginary environmental sounds, it offers a minimal yet richly atmospheric listening experience.

"The debut 2023 disc of narcotised, tranced-out dub from Naarm collective Dregs resurfaces on venerable UK imprint Purely Physical Teeny Tapes, its dense textures and abyssal groove splayed across two sides of wax for wider appreciation among those with an ear for corporeal sludge and blurred sound-system sonics. Centred around the core trio of Sina (vox/synth), Drop Dylan (vox/guitar) & Ossian (production/electronics), this particular session of endless-nite trip-hop finds the group bringing Rip Van Hippy (percussion) into the fold, the revered trance figurehead whose tendrils have also reached into the works of far slung sonic explorers such as Boredoms, Ollie Olsen & Osamu Kitajima. The affinities between the pairing are at once sonically obvious & ripe with potential, both parties sharing an ability to convolve diffuse strands of sound (slow-motion dnb, blasted dub, the luxuriant languor that arises at the meeting point between trip-hop & post- rock) into a jet-black molasses of infinite groove, drowned melodics, and dense hallucination. This self-titled debut is best described as a sensual ooze, smeared & smudged textures riding heavyweight bass pressure & trudging rhythms that dissolve into one another, strung-out siren songs from the gutters of the night. Not a music for the club so much as one born of it, the LP plays out in deeply carnal styles: vox swimming in layers of murk writhing among shadow, the faint murmur of a guitar etching out the suggestion of a melody only to be devoured by un-bottled pressure, endless tremors rattling through a hall of mirrors. A sound to be felt equally in the most heart-melted zones as well as firmly in the cavity of your sternum, in states altered or otherwise; delicate & ethereal, evanescently grimy, and deeply, deeply addictive."

It was quite unexpected to see the very prolific and talented Pieter Kock featuring on Macadam Mambo - which is usually used to new-comers - as he has released a lot in the past 2 years on very nice labels like RIO, Meakusma or Moonwalk X. But, the demos that he sent were so good that there was no question about doing something. And with a lot of possibilities, to prepare a double album that is now composed of 16 quality tracks for 1h20 of music… What vibes are in here! It’s heavy, loudly, loopy, mental, smokey, and always surprising. Pieter has is very own universe, and is without doubt one of the most interesting electronic musician at the moment.
Should we ask you to give chance to this opus, and tell you you won’t regret it ? We don’t think we need to do so... ☺

Oro Azul is a new collaborative project from Michael Red and Ultima Esuna. Water Seeds takes us through 4 shades of an aquatic garden. Dembow floats underneath the waves while woodblock melodies bubble up through the weeds. Sub bass shifts the tide. Some sounds are mosslike, a protective balm. Other tones come through as minerals and metals, shining in the refracted light from above.

Growing up in Uganda, multi-disciplinary artist Ian Nnyanzi (aka Masaka Masaka) always knew he wanted to make music, he just needed enough time and breathing room to figure out what exactly his contribution had to be. He cut his teeth fashioning rudimentary hip-hop beats at a friend's studio on Makindye, a hill that overlooks Kampala's balmy Murchison Bay, and quickly realized that he wanted more. "Out here, everyone seems okay to listen to the same thing," he explains, and Nnyanzi wasn't interested in following the crowd. During regular commutes across the city, his mind was being cracked open by sounds from Dean Blunt, Slauson Malone, Arca, Jpegmafia and Vegyn; he knew he needed to show Kampala something similarly distinct.

'Barely Making Much' is a sprawling, ambitious album that's as sculptural as it is explorative, reaching through genre membranes and refusing to stay still for a second. Masaka Masaka wrote it over a fragmented two year period at Nyege Nyege's Kampala studio, and tapped into a jumble of interconnected sounds, from jungle and experimental hip-hop to techno and smoked-out, dubwise ambient music. He was particularly absorbed by the loose, open-minded production style he heard from Manchester's Sockethead, who makes an appearance on 'Before I go', a frayed tapestry of stuttering snares and floury breaks that billows into jazzy euphoria.

On 'cut right through', Masaka Masaka bends fictile piano hits through a lattice of Afro-Brazilian-style vocal chops, trap hi-hat rolls and serrated, synthesized bass thumps. Airy and energetic, the track makes an unexpected left turn when the hats transform into insectoid rasps that cushion a woody hand drum patter. Elsewhere, Nnyanzi isn't afraid to go straight for the jugular: on 'elv9t' he sets atmospheric, back room pads against booming, soundsystem-ready Southern rap subs, and on the kinetic 'let me out', he remolds hard techno in his image, knocking the 4/4 kick off grid to perplex seasoned dancers, and hammering the nail in further with swirling, psychedelic synth fuzz.

Even when Masaka Masaka's working in a more contemplative mode - like on the hypnotic title track and the fragile cinematic finale 'it's okay to dance alone' - he maintains the momentum, swirling otherworldly vocal loops and erratic percussion into pools of melted ambience. 'Barely Making Much' is a charming, hyperactive debut that wears its influences on its sleeve, playing like a lysergic, literate mixtape packed with layers and subtle gestures. Cool-headed and mysterious, it exposes the twilit side of the Kampala underground.