NEW ARRIVALS

ALL-TIME CITY POP CLASSIC PRODUCED BY MAKOTO MATSUSHITA IN 1979 AND FEATURING YASUAKI SHIMIZU, RELEASED OUTSIDE OF JAPAN FOR THE FIRST TIME WITH REMASTERED AUDIO, ORIGINAL ARTWORK AND NEW LINER NOTES

Wewantsounds is delighted to present the first official reissue of the highly sought-after 1979 classic, Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label in Japan and produced by the legendary Makoto Matsushita—the visionary behind the cult masterpiece First Light —the album is a premier example of the sophisticated sound that defined the era. Featuring the cream of Japanese musicians, including Yasuaki Shimizu, the record offers a superb mix of AOR, jazz fusion, funk, and bossa nova. Remastered for vinyl by Colorsound Studio, this deluxe reissue features the original artwork, an OBI strip, and a new introduction by Paul Bowler.​

Wewantsounds is delighted to present the first official reissue of one of the most sought-after City Pop albums out of Japan, the 1979 classic Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label, the album was produced by Makoto Matsushita with Kazuo Nobuta, representing a peak of the sophisticated studio craft that defined the late-70s Japanese transition into high-fidelity AOR and Jazz-Fusion.

The album serves as a vital precursor to Matsushita’s own 1981 cult masterpiece First Light. Here, he and Nobuta lead the cream of Japanese session musicians—including the renowned Yasuaki Shimizu—through a superb mix of AOR, funk, and Brazilian music. From the sun-drenched bossa nova rhythms of the Jobim classic "Wave" to a sophisticated rendition of Boz Scaggs’ classic "Harbor Lights," finishing with the dreamy rhythms of "Endless Summer," the record is a masterclass in elegant funky arrangements and relaxed harmonies.

As music journalist Paul Bowler writes in the liner notes for this release: "Summer-Time Love Song represents a fascinating bridge in Japanese pop history; a moment where the breezy aspirations of the 70s met the meticulous studio perfectionism that would soon take over the world."

​This deluxe edition features the original artwork, showcasing classic photography by the cult photographer Shinpei Asai—famed for his iconic work on the Pacific album by Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. Newly remastered and including its OBI strip, this reissue finally makes one of the most coveted albums of the 70s Japanese scene accessible to Japanese music fans worldwide.

Ancient Infinity Orchestra return with their third album, It’s Always About Liberation, a new record that deepens the vision of their acclaimed recent work while moving into darker, more searching emotional territory. Conceived as a partner to It’s Always About Love, this new body of work shares its predecessor’s generosity and spiritual openness, but carries a different charge. Where the previous album focused on healing and warmth, It’s Always About Liberation is largely animated by struggle, perseverance and the desire for transformation while still offering a path to betterment. It is music made in full awareness of a fractured world, yet unwilling to surrender to it. Like It’s Always About Love the album title draws inspiration from words spoken by Moor Mother during their 2024 We Out Here festival performance that deeply affected bandleader Ozzy Moysey: “It’s always about love / It’s always about liberation.” Those twin ideas became a framework for the two albums Ancient Infinity Orchestra were creating. If one album explored love as repair, this one explores liberation as movement, continually striving toward freedom, clarity and deeper connection.

Joshua Abrams’ Music for Pulse Meridian Foliation is the aural manifestation of an art event described as “an in-between space and access point to a pulsating experience that connects body and land.” Like the action of a slow-spiraling coil, the music information here revolves in dappling light, an evolution drawn slowly, magnetically forward, resonating there and back again. Deep-reaching in elemental movement, it leaves traces and echoes in the air—and in our ears, as our own experience evolves. Joshua originally created this music as a 4 channel installation to accompany Lisa Alvarado's Pulse Meridian Foliation exhibition at REDCAT in downtown Los Angeles. Written for two violas (both played by James Sanders), harmonium (Lisa), & electronics (Joshua), it was designed to play on a loop throughout the gallery's open hours between April 1 and August 20, 2023. And it did. When playing with Natural Information Society, Joshua’s writing is directed toward the form of the music as uniquely occupied by the group. Here, he wrote in strict dialogue with the exhibit, responding with choices in composition, performance and production on Music for Pulse Meridian Foliation. A key interpretation of the exhibition is voiced by Josh in the hand-off of information between the two violas as they weave together from oppositional points across the sound stage. In mixing the original surround sound down to two channels, Joshua worked toward the small details from left to right, placing former residents of triangulated speaker planes in a congenial spot on our present stereo azimuth—realizing, in the careful growth of this auricular border ecosystem, an essential aspect of the Pulse Meridian Foliation exhibit. Daniela Lieja Quintanar, REDCAT Chief Curator and Deputy Director, Programs, on Pulse Meridian Foliation: A threshold composed of a new immersive mural, a collection of double-sided paintings, a series of photos, and a sound installation. The exhibition explores how memory can be transformed through the body’s relationship to geography and geology, as well as engaging with Chicana feminist Gloria Anzaldúa’s concept of Nepantl (in-between): "the midway point between the conscious and the unconscious, the place where transformations are enacted." In her exhibit, Pulse Meridian Foliation, Lisa Alvarado inhabits the process of foliation, in which extreme environmental pressures upon rocks evoke a new crystallization and a changed minerality. For Alvarado personally, this is a matrix through which she can consider time and changes, specifically the politics of change, and dialogues that multiply over distinct chapters of history. A way to view her family’s intergenerational memory of “Mexican Repatriation”, a 1930s US policy that pushed millions across the border into Mexico, including many U.S. citizens. The weight of these things shudders through the bones of the music here slowly, almost incalculably. Details come and go, light and shadow flickers as horizontal and vertical planes gently intersect… an ambient space in constant change. Constant MINIMAL change, with the recurrent events and slight returns cascading in slo-mo arcs all around. On Music for Pulse Meridian Foliation, Lisa Alvarado asks, “How does memory transform and live within the body?” and, in collaboration with Joshua Abrams, a transformation is enacted.

Sir Richard Bishop returns for a new spontaneous six-string meshing of people’s music, recollections and psychic intentions. Are y’all ready for some Hillbilly Erotica? Migration from last album’s Ragas to this new Erotica is another chapter in Bishop’s progress, drifting via songs into the further frontiers of his pappy’s hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the ‘rotica’s hung round the neck of John Fahey’s infamous dubbing of certain traditional American folk sounds as “American Primitive.” A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters & picking pickled brains in the saucy headwaters of the down-low & literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick’s acoustic guitar music, it’s a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk’s classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It’s fine! As Sir Richard reminds us, Hillbilly Erotica is: “…still exploring the areas around these parts with a similar type of aggression [as Hillbilly Ragas], but as morning light approaches, a clearing or two present themselves, with hills and valleys viewable in the distance inspiring a slightly different sonic landscape. One could be forgiven for feeling a sense of relief from finally arriving from out of the night-time woods to a place which may seem less threatening in the daylight, but it’s a trap - the darkness of night is always right around the corner. Enjoy the postcoital smoke but tread carefully!” Like with Hillbilly Ragas, Sir Richard plays one acoustic guitar on all eight Hillbilly Erotica cuts, no overdubs and, but for the closing “Postcoital Serenade,” improvised entirely. The not-so-sexy ‘sexy’ angle of song titles like “Lick Skillet,” “Sweet Lips,” “Hookers Bend,” and “Finger, Tennessee” is actually actual names for dots on the map in rural TN, each one just five minutes removed – by horse, of course – from Richard’s dad's remote Enville homestead, its town name purloined previously for a song on 2020’s Oneiric Formulary. This ancestral interzone’s a venue of interest for Rick, allowing him to ask the deep questions, like “What the hell has been going on around here with place names like these?” while running down the changes like no one else before. Hillbilly Erotica promises unspoken wonders of the world around each and every dark corner, revelations of legacy, a new spyglass to sight your forebears! Imagined American music at it’s most gorgeous and violent, simply achieved by Sir Richard Bishop through a powerful application of steel-stringed instrumentation and delightfully exhaustive flights of speculative thought.

Originally released on Philip Glass's own Chatham Square label in 1971, 'Music with Changing Parts' is a minimalist set text, a work for multiple electric organs and woodwind that deserves to be filed alongside Terry Riley's 'A Rainbow in Curved Air' and Steve Reich's 'Four Organs'. Glass suffers from discography bewilderment - he's released so much that it's hard to know exactly where to go. Do you opt for his soundtrack to 'Koyaanisqatsi', his prophetic pseudo-opera 'Einstein on the Beach' or go for something even more widely known? He's one of those artists who's understood more as a reference; someone you've heard, whether you're aware of it or not. And listening back to 'Music with Changing Parts', it's quite clear that he's had an overwhelming impact on so much experimental music, especially as we hit the twilight of the organ revival. Riley and Reich, who was long Glass's sparring partner, often take the critical flowers and yet, listening back to this one you can hear just how it's Glass's melodic sensibilities, the ear that got him a seat at Hollywood's top table, that ripple throughout so much contemporary avant-garde music. 'Music with Changing Parts' is an early example of Glass's very specific brand of minimalism, where interlocking repeating melodies create eerie phasing patterns, leading to psychoacoustic phenomena that would become hallmarks of the wider "new age" genre. Glass was inspired after a rehearsal of his 1969 piece 'Music In Similar Motion' where he noticed the rhythmic pulses were creating the illusion of sustained tones. So writing this one, he concentrated on the keyboard patterns, varying their rhythm while accepting that the three Farfisas and electric piano would create phantom sounds. There are no solos, exactly, and as the hour-long piece evolves, Glass coolly adds woodwind, electric violin and voice to reinforce the psychoacoustic elements, creating a haunting flux that's still rarely been bettered. Listening back 55 years later, it's alarming how perfect it sounds having absorbed so much that's been directly and indirectly inspired by its lattice of electronic chimes. Even if you think you've got a handle on Glass's output, this is an album every enjoyer of minimalism - whether it's Steve Reich's 'Music for 18 Musicians', Kali Malone's 'The Sacrificial Code' or Charlemagne Palestine's 'Strumming Music' - needs to own.

Generic Flipper, the debut album by Flipper, remains the most absorbing full-length LP to emerge from the early San Francisco punk scene. A constant source of imitation for so-called "noise rock" bands, it has yet to be surpassed in its nihilistic glee. Recorded between October 1980 and August 1981 and released in 1982 on the indispensable Subterranean Records, this album functions as a chaotic, sticky mass of individual personalities: the magma-like bass eruptions and dual vocals of Will Shatter and Bruce Loose, Ted Falconi's icy guitar scraping and the relentless beat of drummer Steve DePace. At times playful and taciturn, paranoid and absurd, Generic charts a deliberate path that willfully chances destruction. In early '80s punk, when the hardening default was "faster-shorter-louder," Generic subverts the nascent hardcore scene with a strictly applied regimen of turgid-slower-heavier. The lyrics are bleak, yet unnervingly beautiful. "Ever" sets the tone with trademark restraint – "Ever wish the human race didn't exist? And then realize you're one too?" – while closer "Sex Bomb" is a churning, 8-minute epic with looping bass, saxophone accompaniment and electronic effects of dropping bombs. Tons of indie bands have attempted to recreate Flipper's mix of acidic guitar, metallic bass sludge and sardonically brilliant lyricism, using the seemingly effortless template they pioneered; however, the effect usually drives listeners right back to Generic. While most of their contemporaries wilt under direct comparison, No Trend, the Butthole Surfers, feedtime and Church Police are a few who can stand the frigid heat.

Dicks' debut LP has been acknowledged as a foundational statement in Punk ever since its initial 1983 release. Following their first single, 1980's "Dicks Hate The Police," and a live split with fellow Austinites the Big Boys, Kill From The Heart does not disappoint. Originally released on SST, the album stands apart from the mass of generic thrash-hardcore contemporaries – fueled by the manic, but controlled power of singer Gary Floyd along with the original lineup of guitarist Glen Taylor, bassist Buxf Parrot and drummer Pat Deason. Dicks were operating at an absolute peak at this point, alternating damaged workouts that suggest Flipper or No Trend on one end and highly charged tracks in the vein of Minutemen or Tales of Terror on the other. Straight out of the gate on "Anti-Klan," the band trades blues-grounded guitar with squealing feedback and intensely political lyrics. The raw emotional sincerity of Floyd, who was openly gay in Reagan-era Texas, provides unmistakeable urgency to songs such as "No Nazi's Friend," "Rich Daddy" and the title track, which remains one of the stone-cold classic punk anthems. Forty years on, Kill From The Heart continues to smolder – an arresting testament to the possibilities embodied in creative rage. It is no surprise that Dicks have been covered by Mudhoney, Jesus Lizard and more. Superior Viaduct is honored to present this truly essential reissue. Comes with original tracklist, insert and download card.

Ondanaconda does not compose with the jaw harp, but through it. For their self-titled debut album, the quartet turns this lamellophone, often perceived as archaic, into the record’s sole sound source. Found for centuries across continents, from Asia to Europe, the jaw harp is played against the teeth, using the mouth as a resonating chamber, shaping sound through breath and bodily movement. Here, amplified, prepared and sometimes pushed to its limits, it becomes percussion, bass, drone and texture — a true mouth synthesizer with vast possibilities. Between performance and trance, Ondanaconda crafts an unidentified sonic object, somewhere between collective ritual and raw electroacoustic experiment. Each piece emerges from specific combinations of instruments, exploring timbral affinities and rhythmic or harmonic potentials, while leaving room for drift and improvisation. Repetition acts as an unstable engine, bending patterns until they morph into something else. Together, Laurent Bruttin, Antoine Läng, John Menoud and Daniel Zea weave a dense, shifting mass where individual voices dissolve into an organic, almost hallucinatory polyphony. Conceived as a continuum, the album unfolds as a hypnotic flow, a physical and immersive music that moves from mouths to bodies, saturating the surrounding space. A radical UFO, at the crossroads of concert, performance and sound installation.

Paris label Latency presents Estradas (Versions) – a dynamic reimagining of the acclaimed collaboration between drummer-composer Valentina Magaletti and Afro-Portuguese producer Nídia. Following Estradas’ recognition as one of 2024’s Best Albums by Pitchfork, The Wire, Resident Advisor, Artforum, Bandcamp, and more, ‘Estradas (Versions)’ invites a diverse lineup of pro- ducers and DJs to deconstruct and reimagine the raw percussive language initially crafted by Magaletti and Nídia. Where the original Estradas channeled their distinct rhythmic sensibili- ties into a bold sonic statement, this collection pushes those ideas further - opening the material to radical transformation across tempo, genre, and mood. One of the leading baile funk innovators from Belo Horizonte, Dj Anderson do Paraíso opens the release by transforming “Andiamo” into a slow-burning, hallucinatory drift. Mexico-based Rosa Pistola and Freebot follow with “Rapido,” infusing it with syncopated, raw heat drawn from the pulse of underground Latin dancefloors. Lebanese-Australian producer Dj Plead pares “Sicilia” down to its core, distilling its essence into stripped-back, polyrhythmic ten- sion. On “Mata,” Brazilian DJ and producer BADSISTA delivers a fierce, bass-heavy version driven by slicing synths and unrelenting club pressure. Multidisciplinary artist FAUZIA sharpens the rhythmic intricacy of “Nasty” with her signature blend of speed and emotion. London-born DJ, producer, and label founder Sherelle - known for her high-octane 160bpm mix of footwork and jungle - injects “Estradas” with blistering breakbeat energy, reframing its urgency through a razor-sharp UK lens. Chinese musician and sound artist Yu Su offers a fluid, atmospheric reinterpretation of the same track, softening its edges while preserving its momentum. Scottish composer and producer Fergus Jones pulls “No Promises” into hypnotic new rhythmic terrain. Dominican producer and multidisciplinary artist Kelman Duran stretches “Ta A Bater Ya” into a shadowy, reverberant space, while Lebanese composer and multi-instrumentalist Charif Megarbane and its Cosmic Analog Ensemble reimagines it with layered, cinematic textures echoing vintage library music and psych-jazz soundtracks. These artists treat Estradas as raw material - reframing its structures and reactivating its rhythmic possibilities through entirely new prisms. What emerges is not a conventional remix album, but a vibrant constellation of versions : a response to Estradas’ percussive provoca- tions, and an extension of its spirit of exploration - all while keeping its pulse alive. While the original cover photographed by Daniel Shea felt like a close-up of the moment just after impact, the new image seems to pull back - catching birds in flight, as if the camera had stepped away from the scene. In Portuguese, estradas means “roads.” This new release feels like a sharp turn down a different road. Not a reflection, but a bold shift in perspective.

Paulownia by Merzbow is a 2025 full-length statement comprising two lengthy compositions that fuse intense electronic manipulation with Merzbow’s enduring fascination for natural phenomena. Across both pieces, the album merges organic inspiration and harsh digital process, producing a hypnotic yet confrontational experience.​ **Edition of 200** With Paulownia, Merzbow (Masami Akita) delivers a formidable new addition to a catalog already legendary in the experimental music world. The 2025 release spans two extended pieces—“Paulownia part1” and “Paulownia part2”—each developing a dense matrix of sound where digital noise entwines with subtle references to organic structures. The album’s name, drawn from the paulownia tree, hints at Merzbow’s long-standing environmental preoccupations; here, they are rendered less as representational themes and more as evocative textures and forms. The compositions surge with layered feedback, haunting drones, and micro-rhythmic fluctuations, evoking an ambiguous, immersive environment that rewards attentive listening.​ What distinguishes Paulownia is its ability to generate tension and release from the interplay between ferocity and fragility. The music neither settles into a predictable assault nor dissipates into formless ambience; instead, it sustains a meticulously sculpted intensity. As always, Merzbow’s commitment to tonality, texture, and structure resists easy classification, maintaining a delicate balance between repetition and change, aggression and atmosphere. For those prepared to let sound define its own territory, Paulownia is a compelling testament to Merzbow’s ongoing innovation, fortifying his place at the core of the noise tradition while persistently opening new vistas for exploration.​

Saphileaum has spent the past decade in passage between notable houses of atmospheric sorcery - Mule Musiq, Not Not Fun, Slow Life, Constellation Tatsu - and of course Good Morning Tapes, who now host their 3rd meeting, ‘Heavenly Hills’. A definitive chapter in his ten year saga, it is flush with symphonic strings and sky born keys, breezily urged by percussion that straddles chill out and folk zones. That said there’s also a Balearic - or should that be Black Sea? - appeal to its title tune, that lingers in the glistening wake of ‘Your Grace’, to the shimmering breaks of a parting piece ‘Alarko (Cosmic Eagle)’, falling into the space between Boards of Canada's cult-inspired hauntological nostalgia and Shackleton's hallowed ethno-dub. “The tracks in the album were written with the inspiration of the kingdom of Shambhala in the Himalayas. I'm deeply fascinated and touched by it. Even the album title, holds the idea of its Heavenly nature and the tracks are like individual, elemental parts of it. The album is not a journey into Shambhala, but rather a play and a dance with its energy, image and presence in my world. Alarko (Cosmic Eagle) is dedicated to my grandfather, Temur Tsiklauri, and I dedicate the whole album to my country Georgia, which I deeply love.”

A unique and brilliant collaboration between the legendary dub/reggae pioneer and German electronic production duo Mouse on Mars (aka Jan St. Werner and Andi Toma). Lee "Scratch" Perry's last ever official album project before his passing in 2019. Recorded in 3 days at Mouse on Mars' Paraverse Studio in Berlin in 2019. Lee, Jan and Andi conducted a revolving cast of musicians and collaborators throughout the complex's different rooms and spaces. Spatial, No Problem. finds the artists breaking new ground - the one thing Lee was sure of was that this shouldn't be just another reggae album. It covers everything from krautrock, ambient, dub, jazz, New Orleans brass and much more.

Infamously the first artist signed to Warp that used guitars, Seefeel return with their first full-length album in fifteen years – Sol.Hz - a beautiful, hazy and blissed out collection of fractured melodies and vaporous textures.

In some ways, this can be regarded as Seefeel’s ‘dub’ album – the deceptively cloud-like arrangements of Mark Clifford are somewhat ambient adjacent at low volume, but blasting out of a proper sound system, the cavernous bass undertow and skilful employment of effects are more apparent, messing with the listener’s perception of time and audio placement. As always with Seefeel though, it never drifts too far into cold experimentalism or synthetic texture, the heavily manipulated vocals of Sarah Peacock lending the tracks a vital human element, with processed guitar loops allowing slivers of melody to drift through the trails of delay.

Stylistically, it builds on their 2024 mini-album Squared Roots, in the way that the material has been microscopically dissected and reversioned until it reaches the perfect iteration, shape perhaps being the wrong word for a group who blur the lines between solidity and space to such a radical degree. The much-reappropriated line from The Communist Manifesto, “all that is solid melts into air”, could be used as shorthand to describe the experience of listening to a Seefeel record. The album title Sol.Hz can be translated literally as sun plus electricity, although the exact interpretation is ambiguous and left open to debate, just like Marx’s oft-quoted line.

I first heard about this incredible record from my friend and renowned collector Ian Wright back in the mid-2000s. Ian may well have been the first to feature it on a mixtape around that time. He originally found his copy on eBay without a sound clip calling the seller to listen over the phone before taking a chance on it. A true San Diego masterpiece, now highly sought after within the Modern Soul scene. Beyond that dedicated circle, it has remained largely unknown, due to its insane rarity. Although Glen is sadly no longer with us, his legacy lives on through this stunning piece of music, which will finally get the attention it deserves on dancefloors all over the world. Special thanks to the ever-dapper James Pogson for his invaluable help with securing the licence x

Once in a while Athens of the North drops something for the heads, and this is most definitely one of those. An insane deep soul rarity — and I mean so rare most people don’t even know it exists, I certainly didn’t till labelmate Brian Sears played it to me. Sugar Bear and the Sensations came out of Houston, Texas, masterminded by Clyde Gambrel (who was kind enough to clear this for re-release). They only ever released this one 45 as Sugar Bear & The Sensations, though Clyde also put out another killer 45 under just Sugar Bear.

Pharoah Sanders' Impulse! swan-song is one of the most transcendent jazz recordings of all time, a plugged-in, high-minded evocation that shares musical DNA with Alice Coltrane's masterpiece 'Journey in Satchidananda' - this new "Verve Vault" edition has been remastered from the original analog tapes and sounds insane. Best known for his early records like 'Tauhid' and 'Karma', spiritual jazz milestones that showed Sanders' continuity from his time working alongside John Coltrane, Sanders kept on innovating until his death in 2022. But the period that fascinates us the most is in the early '70s, when he integrated African, Latin and Native American sounds on the startling 'Black Unity', recorded 'Journey in Satchidananda' with Alice Coltrane and closed out his epic Impulse! run with 'Elevation'. And it's this (mostly) live recording, captured in two blistering sessions at the Ash Grove in Los Angeles and fleshed out with the sedate, palate cleansing studio jam 'Greeting to Saud', that seems to broadcast the unstoppable energy of this period best. The title track alone, a side-long mantra that fills out the field with clouds of percussion from Lawrence Killian, Jimmy Hopps, Michael Carvin, Joe Bonner and Sanders himself. Even Bonner's jabs on the piano feel like percussive notes and aside from those sounds (and Calvin Hill's rhythmic bass twangs), it's left to Sanders to do the heavy lifting with his lyrical performance, slurring in fluttered post-bop cadences before overblowing over the explosive, double-time crescendo that eventually dissolves into a choir of bells and chimes. And that's not nearly the best thing here, either. 'Elevation' is essential because it contains the open-hearted, free-flowing masterpiece 'The Gathering', a live staple at the time that brims with energy, from its sing-along vocals to its earworm-y piano hooks.

Cult digidub mutators Froid Dub slow their steez to deeply knackered, ghostly levels on a follow-up to joints with Krikor and Ransom Note. Back with Parisian patrons Delodio, the pair bring a deep studio knowledge earned since the ‘90s (and their days together as Bosco) to a half hour of purposefully sluggish pressure slanted at the earliest or latest hours of the night/day. With Black Roots Players’ ‘Slow Tempo’ riddim possibly in the back of their mind, they keep it all heavily downbeat and rent with a psychoacoustic nous that draws lines between The Black Ark, GRM, and DJ Screw. ‘Deep’ feels like the onset of a space cake, all super blunted vox and wiggy synths, and ‘The Swap’ snaps tightly to slowed digidub templates, next to echoes of ’Slow Tempo’ in the cranky chords of the title tune. They really let the bass flare in acres of space on the spangled zingers ‘Too Digital’ and an acidic ‘Love’, whilst crossing lines with Full Circle’s proto-goa trance in ‘Diggin’’ and the swampy motion of ‘No Sense’.