MUSIC

At only 19 years old, Dar Es Salaam's DJ Travella represents a new wave of singeli producers who are driving Tanzania's breakneck dance sound into fresh, innovative spaces. Unaffiliated with any of the well-known studios like Sisso and Pamoja, Hamadi Hassani's music points singeli's fusion of taraab and techno towards the stars, locating a cyber-singeli style that's dense, kinetic and unashamedly sexy. Hassani started producing at 15, and a few years later his debut is a jagged set of hi-nrg dance music that pulls influence from across the globe, folding together elements of dembow, rave, R&B, and trap. But nothing's straightforward: opening track 'Crazy Beat Music Umeme 2' juxtaposes grinding 200bpm rhythmic intensity with urgent plucked strings, sounding like Timbaland conjuring a Thunderdome soundtrack for a Tanzanian street party. 'Crazy Beat Music Umeme 4' is even more barbed, with neon rave synths and hand-jammed percussion that's one part 808 Mafia and one part DJ Diaki. On 'London Bandcamp', Travella meshes hi-speed singeli backbeats with downtempo dembow kicks, squeezing out unexpected sleaze in the process, while on 'London Uwoteeee' there's an almost romantic sparkle, with ethereal vocals draped across woodblock cracks and whistles. But Travella sounds most nimble when giving the nod to Atlanta, and his merging of earworm synth hooks and neck-snapping East African rhythms on tracks like 'London Jomon Beat' will leave no doubt that the young producer is capable of bending singeli completely to his will.

The collaborative project of Northern Electronics' founders, Anthony Linell and Jonas Rönnberg, has never ceased to confront with their coupling of industrious delirium and pensive austerity. By now we know that only adrenaline can make sense of the toxic ensemble of purposes at the heart of Ulwhednar. Meditating on higher flights of thrill and disorder than their previous record, and with an acknowledgement of their Stockholm roots, 'Area 08' induces fever and anticipation with every gesture. The opening tracks make a raucous yet resolute introduction to proceedings, eventually issuing one of the album's most exquisite moments of reprieve with 'Akalla/Broken Swords'. However, it is the second half of 'Area 08' that formally admits their latest work has crossed a threshold yet unexplored by the pair. A suite of villainously propulsive tracks spit embers of caustic balms as they careen out of reach with the engorged march of 'Commuter Madness'. Cunning in as many ways as it is earnest and audacious, 'Area 08' is a welcome alarm from the nucleus of the mission.

This is a limited edition 2x7" edition of a wildly experimental and unique gem from 1981 (originally released on Japan's Pinakotheca). Spread over two records packaged in a bubble wrap outer sleeve - , the set features unreleased full length takes and unheard material from the band's master cassettes. All transferred and mastered with the blessing of the original musicians. The release features heavy involvement from Morioka based musician, Onnyk (key member of the near mythical The Fifth Column group) , an underground behemoth who's released music on seminal labels such as Vanity Records (JP), Insane Music (BE) & Thirdmind (UK) to name a few. 2 discs. 26 minutes of incredibly forward thinking music from 43 years ago... Ships with a scan code to liner notes - the information is as intriguing as the music.

Two lost & found lofi nuggets from the Jahtari vault, appearing on 7" floppy disc for the very first time. "Arcade Addict" is the original Dub cut of Mikey Murka's "Sensi Addict", a version of the sweet Ujama classic that came out as a Jahtari Net-7" in 2006. Sprinkled with field recordings from early 80s Arcade Halls (done by kids with a walkman) this little oddity never made it to vinyl until now. "Proper Tings" on B is taken from a home made video from 2012, originally made to show the capabilities of a DIY Synth project using a Commodore C64 home computer sound chip, the growly SID synth. Sounds are made from scratch, sequenced out on a MPC - and the ensuing Dub jam turned out to be a lucky shot, eventually shaping up as Paul St. Hilaire's "Who Goes There". There's a raw, beautiful 8bit magic to this Dub, finally making it to wax for the first time. Check the video above to see how it was made.

Rezzett come hungry for the club with a volley of thizzing ghetto-tech and breakbeat hardcore hot on the heels of their debut album For the DJs, dancers, and anyone needing to extend the pleasures of their eponymous LP, ‘Boshly’ sees Lukid & Tapes’ razz out from a corkscrewing mutation of jungle tekno in the title tune, to thee most febrile takes on ’93 hardcore gnash in the delirious ‘Dots’ and the free-handed jungle of ‘Kermit’, with an appropriate come down in ‘Extra Redundant’, each treated to their patented, astringent tekkerz.

The future is a flash-back! Having dynamited the end of the 70s, in the next decade, Philippe Doray was still alive and kicking. With Laurence Garcette, he juggled with keyboards and all their simulations to begin the “second period” of the Asociaux Associés (the Antisocial Associates). Labyrinthine programming lead to songs which go crazy: electro, pop, krautrock, no wave…? In a word, French chanson as it was never heard before or since. “Nobody Move!”, so says Philippe Doray and his Asociaux Associés (the Antisocial Associates)! Having dynamited the end of the 70s with two radical albums – Ramasse-Miettes Nucléaires in 1976 & Nouveaux Modes Industriels in 1978, both reissued by Souffle Continu – Doray still hadn’t finished singing. Throughout the next decade he began his Composant compositeur which would document the “second period”, as he calls it, of his Asociaux Associés. The record includes new schizo-electro songs which make the most of his association with Laurence Garcette, who also plays any and all sorts of keyboards. A prolongation of the first period of the Asociaux Associés, the duo updates Doray’s poetry: in reaction to the current overcast atmosphere, here are some hallucinatory fantasies to the rhythm of an infernal circle dance (« Le petit géant ») or an ecstatic waltz (“Bombés fluo”) or even coded messages stuffed into bottles and thrown into space (“Secoue le flipeur”, “Choc d’amour”). On the bonus CD there are further iconoclastic examples: rare recordings (unpublished or even “inaudible”) of the Asociaux Associés but also by Crash, a duo that Doray formed with Thierry Müller (Ilitch, Ruth). At the controls of their experiment-bending machine the musicians multiply the possibilities: peripheral rock, arias in orbit, broken swing, industrial mantras and other joyful falsities. Enough to make you lose your mind ? No… as Philippe Doray promised: it is the “jackpot qui frissonne” (the shivering jackpot) which is there to excite.

2021 reissue! Don't miss it. Arthur Russell (1951-1992) is a cellist, a composer of contemporary music, a devotion to disco music and a variety of faces. The unreleased / demo sound collection released in 1993, the year after he died of AIDS, is still a masterpiece that still fascinates many fans, "Another Thought" is trusted. The long-awaited CD / LP reissue from . This album was released as the first collection of Russell's works, and although it has been reissued many times due to its popularity, it is a gem that is now rare. A masterpiece full of masterpieces with timeless charm that will not fade, such as "Another Thought", "A Little Lost", and "This Is How We Walk On The Moon". Gatefold sleeve specifications with insert / original liner notes. Of course, it is a fierce recommendation for this person's introduction.

Ghastly and hallucinatory – Last Liasse is a sign of the times, alternative pop record by Helen Island. Within this debut album, the artist captures the saccharine gaze of digital escapism through characteristic filtered high notes, cut-up genres, and processed vocals. Providing a comprehensive overview of Helen Island’s self-distributed initiatives, with the ethos of the Parisian Simple Music Experience collective, the twelve tracks set a solid musical score that resonates with the age to come.

Modern Love with a new 7” series reserved for asymmetric bangers and pop diversions, opening with a double A-side from Andy Stott, his first single in 11 years. Inna bare, dancehall style ‘Out (Version)’ on the A side feels out skeletal drums and stabs for a pure adrenaline rush in the dance. On the AA, ’Love (Version)’ cranks martial drums for propulsion; a euphoric rhythm searching for a vocal. Aye it’s a special one. Some heat coming in this series, keep it locked.

Dancefloor fire bombs from Kolt, a DJ and producer thus far mostly operating under the crew name Blacksea Não Maya (with Perigoso and Noronha). This is his first Retirement record. No quotation marks here, Kolt is actually stepping down from a fruitful decade-long career as DJ and producer. Fat, techno-ish, idiosyncratic big room afro mind melt sounding like no other hyped or non-hyped dance cuts out there. Futuristic and decidedly non-European in structure, this set of 4 tracks carries a more synthetic DNA than previous material, if we exclude his quasi-gothic slow burners in BNM's "Máquina de Vénus" LP. But in "Verdadeiro" Kolt is all virtual open arms and bare chest, appearing to satirize this idea of the megastar DJ. But what comes across is distinctive and alive (consequently deadly on the club sound system), wiping out the floor of any zombie-preset-DJ vibes. Take "Bateste" as an example: an evil bassline, wtf beeps, a vocal snippet prodding the dancers and a final blissful 30 seconds to ease you out. "Shaman" is the final track, its title just maybe nailing the atmosphere felt by people on the dancefloor. Shamelessly epic and in your face, a simulation of a throwback to a more clichéd clubland but just so left of centre that one can't find a complete correlation to fit the picture. Yes, we all go OMG.

Geneva-based duo Bound By Endogamy delivers a heavy blend of rave, synth-punk, and industrial music. Shlomo Balexert and Kleio Thomaïdes are both prominent figures in the local squat and punk scene, having been involved in numerous projects over the past decade. Following several cassette releases and a remarkable debut 7'' on Lux Records, the band presents a self-titled album that combines raw, growling basslines, crisp analog rhythms, and passionate vocals ranging from breathy to fiercely cutting. On stage, the project consists of drums, a sampler, and vocals. Shlomo handles the drums alongside sharp synthesizers, while Kleio delivers powerful vocals reminiscent of a professional boxer. Expect a fusion of DAF and Kleenex with a hardcore edge.

Geneva-based duo Bound By Endogamy delivers a heavy blend of rave, synth-punk, and industrial music. Shlomo Balexert and Kleio Thomaïdes are both prominent figures in the local squat and punk scene, having been involved in numerous projects over the past decade. Following several cassette releases and a remarkable debut 7'' on Lux Records, the band presents a self-titled album that combines raw, growling basslines, crisp analog rhythms, and passionate vocals ranging from breathy to fiercely cutting. On stage, the project consists of drums, a sampler, and vocals. Shlomo handles the drums alongside sharp synthesizers, while Kleio delivers powerful vocals reminiscent of a professional boxer. Expect a fusion of DAF and Kleenex with a hardcore edge.

Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others. From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio. His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities. Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class. Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.

Overproof levels of fruity, dazzling, early machine funk from South indian film composer Vijaya Anand, plucked out by David Byrne’s Luaka Bop for first time vinyl pressing - a must-check for anyone smitten with Finders Keepers’ Ilaiyaraaja sets, YMO, LG Mair Jr.’s midi-funk, or classic cartoon scores from Hanna-Barbera to Mark Mothersbaugh ‘Asia Classics I - The South Indian Film Music of Vijaya Anand: Dance Raja Dance’ is a very welcome return to the Tamil film music realms previously revealed to the western world thru a number of Finders Keepers comps in recent decades. Where those sets attended to the catalogues of A.R. Rahman and Ilaiyaraaja (and even prompted a Rian Treanor edit down the years), this one was originally issued in 1992 and brings the work of Vijaya Anand into striking focus through 11 tracks of lavish string arrangements synced to devilishly detailed disco drum machine programming and synth edits, all sung in Tamil and Telugu languages. Like the aforementioned FK comps, it spanks our tiny minds with its abundance of colourful melody and club-ready grooves wrapped up in incredibly intricate song-writing that never fails to leave us beaming. In the 30 years since its release on CD, ‘Asia Classics I’ has led to Vijaya collaborating with David Byrne on ‘Happy Suicide’ from the ’95 Hollywood flick ‘Blue in the Face’, and a remix of his work by Deee-Lite’s Super DJ Dmitry - two reference points that personify his music’s broad appeal beyond its original purpose on Kollywood screens. From the no wavey psych-funk of ‘Aatavu Chanda (Dancing is Beautiful)’ thru to the wildly animated carousel of ‘Ba Ennalu (When I Say Come)’ its not hard to hear a playful genius at work, riddling every cut like a game of snakes and ladders with multiple stop/start chops, electro-funk fills and complex big band swing, while never losing sight of the groove and audience’s attentions. We’ve absolutely no doubt that it’s a serious baga fun for lovers of the choicest midi-funk and the busiest J-pop alike.

New Future City Radio is the first duo collaboration of longtime creative partners Damon Locks & Rob Mazurek. In a hyperactive 40-minute, 18-track suite that runs like a boombox mixtape, the two prolific multi-media artists contemplate community, transformation, and the future through the programmatic format of a pirate radio station for the people. These two artists have worked together from the peak days of the late 90s / early 00s Chicago music scene up through the present day, which has seen Locks featured as lead vocalist of multiple critically-acclaimed Exploding Star Orchestra (ESO) albums composed/produced by Mazurek and released by International Anthem (IARC) in 2020 (Dimensional Stardust) and 2023 (Lightning Dreamers). In recent years, Locks has also earned great renown from his revolutionary, expansive latter-day gospel/jazz project Black Monument Ensemble (BME), with which he’s released two albums on IARC (2019’s Where Future Unfolds and 2021’s NOW). New Future City Radio finds the artists creating a natural but innovatively-assembled blend of the sounds of those two projects, with Locks’s BME-style sample-based sound collage creating compositional beds underneath the signature Orson Welles-like vocal delivery he’s developed through his work with ESO, alongside Roland SP flourishes and arresting brass improvisations by Mazurek. Themes both sonic and text based were predetermined but improvisation leads the journey. The music these two have devised may sound hyper-charged one moment and gently transportive the next, and often somewhere in between. When asked about New Future City Radio the duo exclaim in one voice: "I'm talking post, post, post, future. I'm talking resilience and levitation. I'm talking beauty and structural integrity for my people. I'm talking light beams that tell stories and educate. Let's talk about that if you wanna talk new future!"

One of the most eccentric characters to emerge from Lisbon's musical underground, Teteu has operated under a variety of shadowy monikers including Qraqmaxter, CiclOFF, and Erre Mente. A gifted visual artist as well as a composer, he's known for developing a philosophical mythology with his drawings, mostly using a ballpoint pen to sketch out elaborate, anime-style projects. Normal Nada is Teteu's most enduring project, and a full eight years after the game-changing ep "Transmutação Cerebral" he has finally assembled his long-awaited debut album. "TRIBAL PROGRESSIVE HEAVY METAL" materializes into Nada's meta-kuduro multiverse, developed from his deep knowledge of African and Portuguese musical forms. Years ago, he was an established archivist and genre historian, sharing archival material, mixes and rips alongside his original tracks, and while his online presence has faded, his rate of production hasn't. His tracks are rooted in Angolan kuduro and tarraxinha structures, but Normal Nada uses this only as a starting point, poetically overlaying and superimposing elements from trap, bass music, heavy metal and ambient sources to tell a story that's personal and unique. Listening to the album is like channel hopping through an interplanetary animated matrix, blasting off from colorful opener 'Beautyful Caos' with its grinding syncopation, crash-landing on the subversive 'Batida Hard Trance 2' that dissolves awkward European dance tropes into industrial-strength Portuguese electronix, and scuttling towards the album's bizarre title track, that juxtaposes crunching, overdriven drones 'n tones with kinetic kuduro rhythms. 'Alive' is even more cacophonous, layering machine-strength orchestral hits over militaristic, rolling 4/4 beats and unsettled subs. Born and raised in the Republic of Guinea-Bissau in West Africa, Normal Nada migrated to Portugal at 13 and was based for many years in Lisbon's San Antonio Dos Cavaleiros housing projects, after previously having lived in the Algarve. Teteu's compositions are a spiked expression of Lisbon's patchwork of batida styles, making a direct link to West Africa's vibrant musical legacy. Now he's returned to Guinea-Bissau and his music reflects this outstretched knowledge and energy, with a 360 degree view of the world's complex assemblage of cultures and conflicts. The album's somber finale is the best representation of his philosophy, a minor-key downtempo slow-burner that could sit comfortably alongside Actress or tarraxinha pioneer DJ Znobia. Called 'Dedicated to the Homeless', it shines flickering neon light on the world's unseen population, searching for hope where too many of us choose to look away.

A member of of the Democratic Republic of Congo's Fulu Miziki band, the long-running eco activist collective forging experimental rhythmic music from repurposed trash, Kinshasa's DJ Finale dives into his country's history to brainstorm a dauntless hybrid dance sound. Kinshasa has long been a hotspot of musical fusion and innovation, and Finale builds on the popular template of soukous, or kwassa kwassa - a sound that developed in the mid-20th century from the rhythms of Cuban rumba and flexible emotionality of jazz. While soukous was initially performed with traditional instruments, Finale takes a minimal electronic approach, melting familiar rhythms into other Congolese trad-moderne styles like n'dombolo. 'Basss 30' bolts a brittle swinging beat over white noise bursts and acidic synth sounds; 'Pitschu Debou' features Fulu Miziki's Deboul on vocals, and folds soukous guitar riffs into a stark neo-trap frame; 'Tobandi' is raw and industrial, like Muslimgauze but aimed at the late night/early morning club set, with dangerous blasts of whirring electronics and jerky Congolese rhythms. "Mille Morceau" is a thoughtful mitigation of the Democratic Republic of Congo's past and present. It celebrates Kinshasa's rich history, while remaining proud of an energetic, youthful contemporary scene that's ready to look far beyond the borders.

Square Pusher, a prodigy who has always pursued all possibilities of music with a challenging stance, has released his latest album "Dostrotime" from "WARP RECORDS". Square Pusher, who handles not only the music but also everything from album artwork to T-shirt design, has completed this album with his own strong will and freedom, and it is a work of great satisfaction.

Welcome to ‘Instrumental Dubs #2’, a deep dive into the world of the Dub version and beyond. The A side has a distinct boogie feel, starting slow with a George Kerr produced cut from 1984 followed by a Brit Funk-esq instrumental from Harold Melvin & the Bluenotes originally released on the Philly World label (home to ‘Voice of Q’). The A side closes with the ‘Sweeter’ instrumental mix of Boogie bomb ‘Loving Sweet Devotion’ by Idiater Edwards. The B side opens with ‘H2S04’ from Mad Professor that defies categorisation, sitting somewhere between Reggae, Electro, Disco and Dub. Last but by no means least there’s an uptempo Dub mix of Rockers Hifi ‘Push Push’ making its first appearance on Vinyl having only been on the CD single release first time around. Pressed on 180g Heavyweight Vinyl with full sleeve jacket design by Bradley Pinkerton.

TTT catch Basic Rhythm in neurotic hardstep flow on four cuts of the tightest D&B following his killer mixtape in this mode OG pirate radio DJ for Rude FM in the ‘90s, and multifaceted producer since the 2010s; Anthoney J Hart is a true survivor of the hardcore ‘nuum. ‘The Bounce’ chases up his superb ’23 mixtape, ‘Straight From the Bedroom’ with a high calibre selection of cuts relating to that session, nailing a dead tuff seam of millennium-era pressure that variously plays deep into, and fucks with, its classic form. Living up to his mantle, Hart’s ascetic production values keep everything chiselled and rictus, but with nuff funk in its flex, tying D&B back to roots in the rigidity of OG electro and betraying its foundational links to earliest dark garage and grime. The title tune shadowboxes with clinically compressed snares in dank negative space, and ‘Tubby’ ups the neuro factor with shearing synths and grinding, granite-cut bass wobble. ‘Fists in Pocket’ is pure early ‘00s warehouse menace straight out of a Loxy or Dylan DJ set, and ‘Unworthy’ rudely distorts the structure with noisier, eye-wobbling compression fuckry.TTT catch Basic Rhythm in neurotic hardstep flow on four cuts of the tightest D&B following his killer mixtape in this mode OG pirate radio DJ for Rude FM in the ‘90s, and multifaceted producer since the 2010s; Anthoney J Hart is a true survivor of the hardcore ‘nuum. ‘The Bounce’ chases up his superb ’23 mixtape, ‘Straight From the Bedroom’ with a high calibre selection of cuts relating to that session, nailing a dead tuff seam of millennium-era pressure that variously plays deep into, and fucks with, its classic form. Living up to his mantle, Hart’s ascetic production values keep everything chiselled and rictus, but with nuff funk in its flex, tying D&B back to roots in the rigidity of OG electro and betraying its foundational links to earliest dark garage and grime. The title tune shadowboxes with clinically compressed snares in dank negative space, and ‘Tubby’ ups the neuro factor with shearing synths and grinding, granite-cut bass wobble. ‘Fists in Pocket’ is pure early ‘00s warehouse menace straight out of a Loxy or Dylan DJ set, and ‘Unworthy’ rudely distorts the structure with noisier, eye-wobbling compression fuckry.

Downtempo, Experimental, IDM … Knopha steps out on Mood Hut Records with ‘Kwong’. Ranging in tone from downtempo drum and bass to Herbert-like cut up house tunes, from esoteric pop to digital abstractions.

French synth-dub duo Froid Dub continue their blast of organic and digital material on this brand new 6-track album. Pushing the clash between synth wave and dub even further, the electronic beats of the TR-808 are more than ever engulfed in the slow motion vibes of the digi-bass echoes.French synth-dub duo Froid Dub continue their blast of organic and digital material on this brand new 6-track album. Pushing the clash between synth wave and dub even further, the electronic beats of the TR-808 are more than ever engulfed in the slow motion vibes of the digi-bass echoes.

Mix Mup & Kassem Mosse mark a decade since their rudely offbeat debut with a 19-track, 1hr+ payload of woodcut drums and groggy samples tessellated in beatdown mode for fans of Theo Parrish, STL, Actress Back in 2012, MM/KM’s s/t maiden voyage was a staple round our ways, beloved for its odd bag of skewed grooves. After leaving us with only a 3-track EP ‘Have You Seen Them’ in the interim, the German duo return with ‘Ich sehe Vasen’, or ‘I See Vases’, making up for the big pause in duo production with a heavy satisfying session of loping, peg-legged rhythms, off-the-cuff keyboard lines and hiccuping ambient wobbles that feel right back at home amid the screwballs on TTT. The expanded run time of ‘Ich sehe Vasan’ allows for a far mazier and demonstration of their intuitive, lo-fi style, peppered with numerous beatless nuts and bolts that join the up the club workouts like a game of snakes and ladders on K. Roll the dice and expect to encounter the haziest, Theo Parrish-like Detroit house one minute, then trip down wormholes of lush ambient, or whirling percussive derives the next, popping out along the line at wheezing Actress-like grog, all primed for slinging on at the afters to regular calls of “what the fuck is playing, man?” until the sun goes down again.

Black 12", 140g, 45RPM-33RPM + insert. Master & Cut by Kassian Troyer @ Dubplate & Mastering, Berlin. Distributed by Honest Jon's, London. Following this year’s VA ‘Marmo’, a collaborative offering co-released with XCPT, Baroque Sunburst releases its first Various Artists EP. Tracks from Taro, Pugilist, Slacker and Flørist, creates a statement record championing subtle yet hybrid club-oriented sounds. Taro ignites the white label 12" with ‘Gas Burn’, a dreamy, rarified IDM zipper. An off-kilter UK funky remix from Flørist follows (his second appearance on the imprint after 2020's Intermedia 1 EP). The B side drags us into a half-time, downtempo sideroom, with tracks from Slacker (Aqueduct) and Pugilist (Symbiosis) slowing pace but maintaining intensity.