MUSIC

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack. 

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright. 

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments. 

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!” 

“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds. 

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere. 

Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction 

“Art is awe, art is mystery expressed,” writes Kaitlyn Aurelia Smith. “Art is somatic, even if it is experienced cerebrally. It is felt.” The central mysteries of Smith’s ninth studio album, Let’s Turn It Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we’re feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described “feeler,” the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let’s Turn it Into Sound strives to use sound to communicate what words alone cannot. “The album is a puzzle,” Smith says. “[It] is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them.” The energized “Is it Me or is it You?” comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets “There is Something” refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing—a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. “I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff [my inner community] wants to communicate but it doesn’t have the English language as its form of communication, and so [this album was a form of] giving space to let it talk and not judge it and just let it play.” By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full. Smith has never fit neatly into the ambient genre conversation she’s most often associated with, and here she forges even further outside of it, traversing avant-garde pop, neoclassical, and the otherwise unclassifiable. The result is a playful, inquisitive, excitable work which appeals to us as social, sensitive animals, and invites listeners into a wholly idiosyncratic world that is both experimental, and, feels like the most human thing in the world. Proceeding through Let’s Turn it Into Sound is like peeking into a secret realm: one that delights both in the discovery of the magic hidden in the everyday, and the shimmer that lingers long after the portal itself shuts.

The latest by Tel Aviv producer Shlomi Zvi aka Staghorns is an eight-track emotional response of moodswing techno and sidewinder house, equal parts anxiety trip and rhythm therapy: Eating Feelings. Recorded across last winter in his city studio, the songs began as bass lines then flowered outward into nuanced dimensions of tension and release, outsider acid and active listening – facing down demons on dance floors and beyond. Prior collections for Teel and Infinity.Trax (a collaboration with L.A.’s Choopsie) hinted at his gift for low-slung, liberated kinetics but here he cruises through a deeper house of mirrors, from jittery jack and dusty disco to piano stab dubs and endorphin electronica. It’s club music as coping mechanism, alternately spiraling and centered, escapist and psychodynamic. Sound as sonar, leading us back to our truest selves.

Rogue romantic Maltese producer Salvatore Munzone describes his debut in terms both scenic and star-crossed: “Love songs and heartaches conceived under the year-round Mediterranean sun, to be heard in a beach parking lot, sitting in the car watching the movement of the sea while the music pumps from JBL speakers.” Good, You’re Here, It’s Time collects 10 tracks of mood system house, proto-techno, and refracted poetics recorded and mixed in fits and starts across the past three years, accruing complexities and contradictions along the way. Lean rhythms trace sunset coasts of club bass, seagull synths, and twilit pads, laced with vocal samples of rapture, doubt, and the need to dance. Munzone cites UK revisionists from Actress to Swayzak to Burial as oblique touchstones but his own sound inhabits a woozy world all its own, attuned to asymmetries, subcurrents, and the sand in the hourglass slipping softly past: “All good things come to an end.”

Lavender Palace is a portrait of a process more than a place – the result of a creative headspace San Francisco producer (and Silva Electronics boss) Michael Claus describes as “dropping out of the world and entering a flow state.” That heightened sense of spatial focus, dilated and dialed in, colors the collection in subtle shades of dream house, dub techno, and liquid downtempo. Recorded before and during the strangest days of peak lockdown, Claus found himself drawn to sci-fi notions of fantastical cities and mythic landscapes, hazy realms in the horizon of the mind’s eye. Further inspired by a new and improved studio arrangement in the city, the sessions unspooled in long, low-slung voyages of texture and pulse, restlessness and reverie, “yearning for a better tomorrow.” It’s music of empty streets and guarded hope, percolating at the precipice of futures too real to recognize.

The first full-length vinyl collection by Tokyo-based producer Zefan Sramek aka Precipitation crystallizes his evolving synthesis of new age ambience, tape hiss, and house music into a riveting suite of motion and mirage: Glass Horizon. Conceived and recorded between two formative trips to Sado Island in the spring and late summer of 2020, the album feels both insular and infinite, threading paths through wet grass, along isolated coasts. Field recordings of tidepools, birds, and cicadas crossfade into fluid mandalas of bass, keys, and drum machinery, while synths glide and glisten, rising like heat off sand. Sramek speaks of themes of escape and estrangement, solace and desolation, visions of azure waters lapping empty shores. Weeks spent sleeping in a hammock attuned him to the extrasensory; melodies and memories materialized from the foliage, suffused with ocean air and placeless melancholy. All seven tracks swoop and swirl with patience and precision, grid-mapped golden dawns and gradient sunsets mixed live and captured on cassette. This is dance music as portal and pilgrimage, spiral environments for a refracted age.

Eagerly awaited yet patiently bubbling under the surface, UwU dust bath emerges with its primal offering, a deeply generous and authentic sonic array from low-key prolifics Purelink. Despite the Chicago trio’s humbly mysterious presence, the transcendental music speaks resoundingly. UwU 001 is rooted in the group’s most sincere and early jams; exuding an innocent magic almost impossible to recreate, tranquil effervescence of the highest nature; three otherworldly originals harmoniously colluding with an intercontinental all-star cast of remixers. xphresh (special guest DJ & Ben Bondy), Low Flung & Nice Girl each respectfully contributing to the synonymous mutual (& virtual) affiliation, kindredship and vision entrenched in the UwU ethos. An immersive sense of bliss exudes from even the initial vibrations of the A side. Soaked in textural pleasure, Butterfly Jam feels suspended; gloriously hovering with organic ebb and flow. Preparing to bloom, the harmonic design starts to flourish, thriving together with rhythmic and dynamic nuances to form a mesmerizing spherical habitat. Fantasize the interior of a bubble with Fine Pink Mist, effortlessly floating and entirely balanced; rich, assured subs anchor the glistening percussive texture and pads, providing a soft bed for experiments in melody and tone; hypnotic movement propelling throughout. The concluding original Dozen Sunbeams evokes a dance of flickering light, dynamically subtle motion maturing in each voice. Everything has a perfect place; an evolving trademark of Purelink’s delicate, yet deliberate, chillout ecstasy. Each track is thoughtfully paired with a complimenting remix on the B side, preserving and echoing the ethereal essence while adding a personally inspired touch, nurturing fresh existence and perspective. Arguably the most unforeseen plot twist comes via xphresh (Special Guest DJ & Ben Bondy), causing Rih✫nna’s notoriously iconic vocals to drip like honey, seeping into the fuzzed post-dancehall daydream; a sunkissed celebration. Low Flung carries the brightly burning torch, contributing a deep-haze rendition which exhibits elevated harmonics and pulsing drum delays, tripped out extraterrestrial heaven. Lastly, Nice Girl’s semi locked groove percussion heavy mix plants our feet firmly back on earth; infectiously spirited and euphoric like the original, the luminous stabs glow alongside a bulked out beat and vocal whispers - witness the transformation to full dancefloor status. In case you aren’t fully satisfied, the Good Girl No Infringement Dub comes as a digital treat, stripped back sublime and mesmerized. UwU dust bath is inaugurating its anticipated catalog with pure, unadulterated aural alchemy. The synergy throughout this entire release reveals an unspoken affinity and divine love language between the label and artists that can translate to how we feel and absorb music, its sound and a subconscious sense of intimacy and connection.

Invisible City continues to celebrate its 10th anniversary as a record label by reissuing the overlooked 1994 UK LP Accura - Five x Five! The best records make you want to grab the steering wheel and feel the sunny coastal drive. Frank Ed’s unique blend of genres on his LP “Five x Five” does exactly this by melting G-funk, smoothie Rnb and NYC Disco a la Larry Levan, a genre he coined “Street Jazz”. A Ghana expat inspired by the endearing levity of the sounds of Hilife along the Gold Coast, Frank Ed fuses downtempo keys and throbbing basslines on the opener “The Vibe”. Taking turn on the sunny coast, “Groove Control” is a euphoric minimal disco gem teasing the padlocked grooves of Gwen Guthrie and the West End setting sun into a fiery Loleatta sample that sparks into a fiery vocal “You got me burning up”. Dervish vibraphones, inspired by the Jazz-Funk renaissance, mesmerize the interlude “Ghetto Strings”. The punchy sampledelic psychedelia of conscious hip hop continue with the car sounds of “Jazz Maiden” opening with a screeching car halt, alongside MCs Cap D and Darkstorm rapping about a girl on the town, before being snapped and interjected by a female vocal chiming in“Excuse Me!” “Freestylin’” is a top down portamento G-funk glider, a nod to everything from the West Coast hip hop highway. “The Good Times'' - a CD-hidden only cut - is the real jewel here, emblematic of Frank Eds distinctive style. Expect low slung, nasal rapping and sine wave G funk grooves paired with lyrics about baggy jeans and Kangol kits that land with the chorus: “ I walk the walk I pay the price of this hip hop rhyme.” The pacific highway drive continues with “Summer Jazz” a breezy cruiser with the line, “Just move your body and slow…Summer Jazz.” You can feel the sun and wind in your hair as the keys trill along the reverb vocals of “I Feeeel It.” This pressing Includes two other CD-only releases featuring the NHB remixes of “Feelin Jazzy” and “Summer Jazz.” An essential LP, lovingly remastered and adjacent to the African diaspora genre UK Street Soul and the fervent UK RnB explosion of the early 90s. Glimmering with the disco ball of The Paradise Garage and the simmering smoothness of bumpin’ West Coast hip hop. Official Limited Pressing made in collaboration with Frank Ed and Toronto local selector Matt Stein. Not to be missed!

Prescient jazz-techno mutator Jamie Hodge (Conjoint, Studio Pankow) ushers a long overdue solo debut album, of sorts, with Demdike Stare’s DDS label; an archival harvest spanning his earliest experiments circa his Plus 8 debut thru to ’00s anomalies - hybrid ambient techno jazz and incredibly inventive forerunners of dubbed electronica - bookended by two Demdike Stare edits. Essential listening if yr into anything on the axis from Move D to Detroit Escalator Company, Jan Jelinek or Tortoise. Jamie Hodge grew up in Chicago in a jazz-loving family, first forming a band when he was a teenager, using drum machines and keyboards to rattle thru covers of Joy Division and Ministry tracks. His sound progressed into dubbier spaces when he befriended Ted Gray, a local record store clerk, and into off-kilter jazz when he ran into Bundy K. Brown and David Grubbs, who let Hodge watch rehearsals of the first Gastr del Sol recordings. But the transformational moment came when a friend (pictured on the "Diagonals" cover no less) played Hodge the 1991-released "From Our Minds To Yours Vol. 1", the first compilation on Richie Hawtin and John Acquaviva's Plus 8 label. From here, Hodge took his growing obsession with dance music to early Chicago raves, and began to explore European techno and UK hardcore. Eventually he met Hawtin in person after convincing his mom to cut through Canada on the way back from visiting East Coast colleges, and released his Plus 8 debut by the time he'd moved into a college dorm in 1993, using the Born Under A Rhyming Planet moniker for the first time. Hodge was also immersed in Chicago’s famous experimental jazz scene of the ‘90s - later on establishing the short-lived but excellent Aestuarium label that brought the work of Philip Cohran And The Artistic Heritage Ensemble to wider attention. Hodge would release two more 12"s for Plus 8, heading to Germany to connect with David Moufang (Move D) and forming Conjoint, later Studio Pankow. The material presented on "Diagonals" takes us right back to Hodge's vintage era, when he was using a mutating spread of equipment - Korg MS-20, Atari ST, Nord Micro Modular, ARP Axxe, Yamaha TG77 and TX816, and Alesis HR-16B - to assemble tracks that reached through his wide range of musical interests. According to Hodge, more Plus 8 releases were planned but never materialised, so this long overdue set fills in the gaps between records like 2000's classic Conjoint plate "Earprints" and Studio Pankow's still-underrated 2005 slow-burner "Linienbusse”. ‘Diagonals’ sputters to life with a Demdike Stare edit of a track Hodge recorded in Brooklyn while he was on summer break from college and working at a local record distributor. Inspired by music he'd seen at that year's New Music Seminar, he used an Atari ST and Yamaha TG77, a glassy FM module, to conduct a mood that hovers between '80s new age DIY tapes and gaseous dub techno. ‘Handley' digs into the tranquil electrified jazz modalities over a swung drum machine rhythm, squeezing robotic soul from a modest arsenal of gear, lashing the hypermelodic post-Detroit sensitivity of The Black Dog/Plaid to Chicago-axis experiments from Tortoise and Gastr del Sol. The shorter interludes are just as engrossing: Hodge experiments FM spray on 'Trampoline' and dusty Jan Jelinek-esque electroid funk on 'Menthol', ducking further into jazz on 'Hot Nachos...', augmenting his electronics with fretless electric bass. Cherry-picked by DDS, the selection best portrays the mix of soulful depth and atmospheric effervescence that defined that elusive era in electronic music; spanning a late night spectrum of styles from dusty electro-acoustic ambient prisms to supple deep house pearls, with a special strain of gently frayed computer jazz touching on the outer limits of Detroit techno. It's exceptional material that reminds us of a time when electronic music was frothing over with hope, futurism and revolutionary spirit, so whether you're into the post-Artificial Intelligence era or the Jazz-looped investigations of Jan Jelinek and crew, "Diagonals" feels like stepping into a particularly good dream.

originally released on Khotin Industries in 2020. It soaks you, it puts you to sleep, it opens you up. A daydream ambient masterpiece. The debut cassette from Area 3, another name for Vancouver's popular producer Khotin, who has been the main force behind the cool house that has emerged out of Canada with Mood Hut at the top of the list. The worldview of this cassette is one of bottomless beauty, spiritual vibrancy, and profundity that cannot be described in words! The lo-fi feel and naturalistic charm of the sound world are retained, but further updated with an exquisite sense of sanctuary and hippocampal ambient. Mastered by Nik Kozub, who has also worked with Project Pablo, Jex Opolis, and others around Khotin.

originally released on Khotin Industries in 2021. It soaks you, it puts you to sleep, it opens you up. A daydream ambient masterpiece. The debut cassette from Area 3, another name for Vancouver's popular producer Khotin, who has been the main force behind the cool house that has emerged out of Canada with Mood Hut at the top of the list. The worldview of this cassette is one of bottomless beauty, spiritual vibrancy, and profundity that cannot be described in words! The lo-fi feel and naturalistic charm of the sound world are retained, but further updated with an exquisite sense of sanctuary and hippocampal ambient. Mastered by Nik Kozub, who has also worked with Project Pablo, Jex Opolis, and others around Khotin.

Well it's been more than 365 days and nights since we released a record on our small and independent record label based in Vancouver, BC. For better or worse we have always operated at a pace that feels natural to us. The same could be said for Mood Hut recording artist Jack J who has not released any music in over seven years. Do you remember his last record? It was called Thirstin' and it came out in the summer of 2015, hot on the heels of Something (On My Mind) which came out the year before. So naturally after this very long silence we are proud and excited to be able to finally share Opening the Door, the first full length LP by Jack J. Self-recorded slowly but surely between 2015 and 2019 between Mood Hut and C'est Life Studios, and featuring some crucial saxophone work by Linda Fox, this LP confirms Jack J to be a masterful mood maker as well as an incisive songwriter. Over the course of the album an undeniably blue haze settles over inward-peering ambient jazz, On-U-inspired digital-dub and quiet storm soft rock leaving a distinct sense of sadness amongst all the tangerine funk. Check it out!

Late last year, Canadian producer Priori returned with his second album ‘Your Own Power’ to great acclaim. Released via his NAFF imprint, the album showcased a more contemplative style to his productions and featured one collaborative track with label partner Ex-Terrestrial. The story continues as Priori enlists a heavyweight line-up of artists to rework some of the album’s standout tracks. Slated to drop on the 18th March, ‘Your Own Power Remixes’ features new editions from Donato Dozzy, Aurora Halal, DJ Python, and Bambounou alongside a Priori VIP - each bringing their own flair and style to the record. Priori is an alias of Francis Latreille who first put out solo releases on Greek label Echovolt and Canadian imprint ASL Singles Club. Known to be an avid collaborator, Latreille is involved in a number of projects including Jump Source, M.S.L., Housemates, New World Science, ANF and more. He has also worked on mixing projects by fellow artists including Roza Terenzi, Ex-Terrestrial, RAMZi, Bambii, and Ouri.

Ela Minus and DJ Python have teamed up for their first collaboration, the ♡ (referred to as “corazón”) EP. The three poignant songs feature DJ Python’s immersive, ebbing instrumentals and Ela Minus singing about the liberation, intimacy and mutuality that blooms in love.

With this album, even the passing summer will make a comeback in the blink of an eye. The latest title from popular US disco producer Sorcerer arrives on Growing Bin. It's full of balearic house, modern boogie, downtempo, and new age vibes. It seems as if the West Coast's exhilarating breeze is blowing away the gloomy air. Superb!!

Italian dj, record collector and beat-maker Phonorem sprouts his roots into golden-era hip hop. Since 2017 he leads the phat! Radio show, at Rocket Radio Verona, occasionally with international hosts.

Algorythm shines light on his background in electronic music: synth-wave sounds on wonky homemade downtempo beats, fused towards ambient and cinematic atmospheres, with live drum recordings, drum machines and few samples.

Including a remix of "Arborea" by the mighty Glenn Astro (termina records / tax free records). Characterised by syncopated grooves and fat wobbly synths, glenn's sound is immediately recognisable, making him one of the cardinal points of the german 2013-15 scene, leaving a distinctive signature on everything he touched.

One of the biggest classics in housemusic history! Containing 4 masterpieces in the genre by one of its masterminds. It's about time that people become aware of the talents of Larry Heard (aka Mr Fingers). One could easily say that he is the Miles Davis of housemusic. On this remastered release we have Stars, Waterfalls, Slam Dance and For So Long. 4 tracks with unique alienating machine rhythms, intense basslines and overwhelming beauty in an abstract way that was never heard before, untill this release came out. House Classic Must Have!! iframe title="YouTube video player" src="https://www.youtube.com/embed/c3eMQB8h-eI" allowfullscreen="" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" width="560" height="315" frameborder="0">

New York-based genius Madteo, who has released strong titles on such prestigious labels as DDS, Sähkö Recordings and Hinge Finger, is back this year on Honest Jon's!

Following a 1997 compilation album on Carl Craig's Planet E label, Moodyman's virtually first album, released in 1998 on the prestigious UK label Peacefrog, is being reissued on limited edition clear vinyl.

Re-issue of seminal Mr. Fingers album 'Amnesia', available officially for the first time in over 30 years on Larry Heard's own Alleviated Records. This remastered collection of early Mr. Fingers works is an absolute must have.

Deadstock cassette version of the masterful second album, released in 1992, which was hailed by All Music as "the commercial and artistic peak of the ambient house movement" and was #1 on the UK charts at the time. sealed with a small drill hole.

Moodymann's oeuvre continues to yield new gems on a yearly basis, but sometimes you've got to take it back to the classics. "Forevernevermore" was a landmark when it first landed in 2000, building on the promise of his earlier LPs to deliver an immaculate trip through the dreamiest corners of his idiosyncratic deep house vision. From the incantations of "Meanwhile Back At Home" to the early morning freak haze of "The Set Up", the quintessentially KDJ 'in-the-room' vibe of "The Thief That Stole My Sad Days" to the heavy edit funk of "Tribute" this is gold-standard Detroit house start to finish from one of the best to ever do it.

A masterpiece 4th album released in 2003. Limited clear vinyl edition.

Vancouver producer Jeremy Rawkins aka PARC’s 2nd collection further finesses his signature fusion of dexterous rhythm dynamics, liquid field recordings, and digital synth ambience into an immersive, aerodynamic domain: Wave Iridescence. Embracing the limitations and tonal saturation of 80’s and 90’s digital synths and converters, the tracks gleam and slipstream with a sleek, weightless futurism, conjuring visions of fiber optic clouds and lost biodome terrariums. Rawkins cites notions of organic electronics, randomized beauty, and the peripheries of dance music as inspiration, but ultimately the sound he maps is too fluid and prismatic for effective categorization. It’s music of heights and breaks, precision and vertigo, loops and radiance – vivid cybernetic heavens forever in flux.