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People Of Earth strides into the New Year with a new project called The Elements Series. Part one welcomes some serious names, not least Detroit's ambient and techno master John Beltran who kicks off with 'Nuyorico' a joyous, chord-laced house groove laden with organic percussion. Javonntte's 'Tropical Feelings' is another of his textbook deep house cuts with whispered vocals bringing a spiritual vibe. Atlanta's main man Kai Alce does his do with the jazzy synth energy of shuffling house cut 'Benefit' (ndatl instrumental mix) then Byron The Aquarius pairs things back to dusty drums and humid chords on 'Sun Gods'. This one is only for the real heads.

Unfortunaley the last batch of these arrived with ceased corners and therefor we sell it a bit cheaper.

Noods Radio's Dummy Hand sublabel deliver their 2nd drop in the form of this wicked 6 tracker from one of Bristol's most cherished underground figures - Yokel. Having put in years of work for Bristol's scene via the Slack Alice parties, legendary Mickey Zoggs / Noods Radio appearances on the 1s and 2s, etc etc, he now steps (one little step further) out of the shadows (with a pint of Guiness in hand, Mickey Zoggs style) and cooks up this addictively punk'd up, EBM styled set of dubbed out rollers, which never loose their touch. Classy, but he's not shouting about it.

Walls & Birds‘ debut on the Berlin label Beatbude! Recorded with the aid of “The Whitest Boy Alive” keyboarder Daniel Nentwig at the local Butterama Recording Center, the vinyl is accompanied by a fold-out poster and a digital bonus track. Much like their previous releases, “Less than a kilometer away” is Walls & Birds’ new take on popular music today. The first song “Wearing a Dress” touches on the theme of modern clothing habits, while questioning relationship patterns still widespread in popular music lyrics. The surprising element of new found love is also one of the themes of the B-side “Heads & Tales”, telling the story of a late night after work taxi ride with the chorus contemplating about the eternal either or question, plainly answered with: love. The cheerful upbeat digital bonus track “Summer 2002” is as meaningless as most nice pop songs these days.

Ships in a label sleeve.
Writing on label.

Celebrating the interconnected strands of head-tripping hypnotic sounds, new age electronica and early/late 90s progressive house/trance, Rambal Cochet arrives on this EP, built to elevate the dance floors.

Since emerging in the scene, Rambal Cochet has ably demonstrated his instinct for different approaches, whether exploring expansive sonic palettes or holding down stages where he has performed. Throughout his career, this DJ, producer and versatil music curator, turned his capable hand into a truly immersive listening experience.

Dolphin’s Dance is an uplifting music journey, with a flavour of the good old prog sound and a dreamy atmosphere. The narrative flow in Twisted Reality and Virtual Nightmare use contrasting ecosystems to glide through distinctive spaces, unfolding with darker vibes infused with style sounds, as in Yello’s 90’s album “Pocket Universe”. At times the effect is nostalgic, calling to mind pulsating rhythms, bass lines and hypnotic melodies.

Rambal Cochet shows again an exceptional talent for producing high-level dance music. An exquisite—3 rhythmic and stimulating club jams to be savoured and absorbed in Alz05.

Having initially forecast his production energy into his own Tartan imprint, Wallace’s music quickly developed a cultish following among record collectors and influential DJs including Gilles Peterson, Optimo, Hunee and Ryan Elliott. Another supporter has been CWPT’s founder Palms Trax, who, following releases on Studio Barnhus and Rhythm Section, snatches four highly sought-after tracks for the seventh release on the label, each showcasing Wallace’s inimitable and enviable skills as an engineer and a willingness to stoke the sort of organic euphoria that DJs dream of igniting.

Amongst the curios, rarities and other finds that have peppered Palms Trax’s sets this past summer, it’s title track ‘Willow’ that has levitated entire club and festival dance floors like few others. Escalating from a disco percussion loop, ‘Willow’ soon brings on high-energy melodies and a captivating sense of something more ethereal, seemingly reinvigorating old tricks with exciting new flavours: if you only raise your hands to one climactic snare roll this year, we ask you to make it this one.

This refreshing intersection between flourish and function is felt even more heavily on ‘Breathe’, a contemporary electronic battle weapon whose breaks-and-bassline arrangement fluctuates between weightless wonder and heavy business. Frontloaded with the detail and atmosphere of a vintage Chems or Leftfield cut, 'Breathe' exhales then explodes all the skill and reverie of the most memorable 90s techno.

Wallace appears to dip into the chillout room for the swampy rhythm of ‘Masada’, before proving his slow-motion mettle, a Sergeant Peppering of psychedelia creating true hedonistic density and groove. In conclusion and on the contrary, ‘River Dancers’ maintains subtle hypnosis at a similar pace with much less, employing simple timbres and a stuttering, innocent vocal inflection to conjure wide-eyed whimsy far downstream from the EP’s earlier, maximal wonders.

Hyperherz is ichliebelove's 3rd album for We Are Unique! after the inaugural psychedelic Life-enhancing solutions (2011) and the synthetic Wax and Wane (2015).

Composed by Philippe Raimond and always performed with the help of Alice Champion on vocals, produced by Manuel Duval of the French band Rien Virgule and mastered in analog at the famous Berlin studio Calyx Mastering, Hyperherz is an end-of-the-world record, on which the machines give up the ghost and slowly drift towards a final bug. From this sonic maelstrom full of cracks and artifacts, the group draws amazing melodies, sometimes almost pop, to make unstoppable hits! We can cite the menacing rhythm of Had Some Good times which sounds like a terminally ill Console, the sick choirs of Like a trap whose noisy keyboards exhume a distant phantom of Broadcast, or even De la viande which summons Stereolab to the pagan feast of a sect whose guru Aphex Twin would celebrate the next apocalypse... It's a certainty: all those who linger on these titles will not come out unscathed. The group's most coherent and successful album, which will be a landmark in a unique and incomparable style.

Jules Reidy’s follow-up to the celebrated »World in World« (2022), takes place in between states, tracing a kind of restless movement in search of—or is it away from?—a center. The twelve tracks shift between fragment and epic, returning to familiar phrases between forays outward into uncertain expanses. Through its exploration of the cyclical movements of grief and emotional turbulence, Trances produces a sonic world as raw, absorbing, and surprising as anything Reidy has created to date.

Generic label cover

mule musiq welcomes british producer jimmy wallace, presenting his debut album “red, yellow, black” - a nine track strong record that partly leaves the dancefloor behind.

since childhood, music has been a strong influence on the 33-year-old artist. his mother, a music teacher, exposed him to classical sounds from an early age.

but it was hearing the electronic tones of the french touch movement, which really ignited his mu-sical journey. a year later he started to dj, acting out his love for four-to-the-floor grooves in local clubs. today you'll find him on the bill with artists like ruf dug, mr scruff, or bradley zero, heating up the dance floors.

as a producer he has already released a handful of stunning eps, including one for sweden’s finest house label studio barnhus, and one for london’s revered rhythm section international imprint.

both feature house tunes with an edge, house tunes with a love for the roots of the genre along-side more reflective, ambient moments. he also runs the label tartan records, where he publishes dancefloor focused white labels.

his music has been championed by titans of the scene such as palms trax, ryan elliott, dj tennis, gilles peterson, dixon, and hunee. axel boman even coined his debut ep as “one of the very best demo emails ever received at label studio barhnus hq”.

an advance praise, that wallace now acknowledges with an album full of deeply crafted music. some tracks lean towards the dancefloor, like the swung sounds of “bubbles”, the hypnotic mael-strom of “good morning”, or the epic, jazzy moments of “labyrinth”.

the theme of nature is evident throughout, with field recordings and environmental sounds he rec-orded on the road, being fused with his own musical ideas.

tracks like “waterfall” and “tokyo street”, draw influence on time spent in asia, whereas "dhq", "by the river", and "by the lake" are inspired by his childhood and hometown in the shropshire country-side. “i’ve been writing ambient and more nature focused material for a few years now without really having a plan for it.

finally, this year after writing the tune “labyrinth” i felt i had a body of work which was both diverse and cohesive enough to bring together on a record. so, the album represents moments of time i have spent in various outdoor spaces around the world, using sound to try and turn these experi-ences into musical format.” wallace discloses.

the result is a mesmerizing long player featuring an evocative, emotional story arc that avoids ste-reotypes and straight party orientated narration. “having written plenty of club music for the past few years, i wanted to show a different side to my sound.

something more intimate, private, experimental which can be listened to away from the party.” he reveals on the meditative, blissful “red, yellow, black” - an album, which has the power to transport listeners to places and spaces new – for inspiration, relaxation, and dancefloor moments off the beaten path

"Fast Rate" blends echoes of nostalgia with futuristic innovation, crafting a sonic landscape. In the relentless
rush of life's high-speed journey, it invites introspection, courageously urging listeners to delve into the
intricate web of contemporary life.
This EP is inspired by deep reflections on the meaning of life in a fast-paced world filled with thoughts and
emotions. It symbolizes a futuristic journey, mirroring the human struggle to gain an external perspective in
our busy lives. Random Alias prompts users to contemplate their existence, offering a musical experience
that transcends mere dance rhythms.
The 5 tracker showcases a wide array of sounds, from aggressive tones to captivating and atmospheric
elements unveiling a new face of the label that keeps exploring the interconnection between human and
technology.
The A side roars with high bpm and furious rhythms."Keep me high" express the need of escaping ordinary
life, seeking something that keeps us "high" and allows to escape and reset.
Following up "Fast Rate" spans a variety of influences, blending the allure of old-school Detroit electro with
futuristic sounds achieved through bold experimentation and advanced wave modeling. This fusion results
in a diverse and innovative sonic aesthetic, ranging from nostalgic '80s/'90s vibes to experimental
dimensions where tones morph and evolve.
"Solo in Space" and "Restless" on the filp side deliver direct, pulsating sounds and rhythms, embracing an
impactful electro-techno vision. These tracks merge both worlds, combining the energy and drive of electro
with the power and tension typical of techno, resulting in a sonic journey that blurs genre boundaries.
Completing the collection is a digital bonus track, "Galactic Power," which serves as a soulful embodiment of
the EP's essence. With its otherworldly alien-style pitched vocals,The track intricately crafts a cosmic palette
of bright pulses and ethereal FM synthesis.
This release represents a bold and progressive vision of electro, confirming and solidifying the eclectic
direction and the concept of inter genre flexibility. Music can be an ever-evolving form of art, blending
elements that transport listeners to distant cosmic realms.
Time shapes people, people shape technology, technology shapes music, music shapes time.

Jules Wells is from Bordeaux, France. He started Djing in the late 90’s, and released his first productions in 2008 on Logos Recordings.

Strongly influenced by the Motor City, Jules already released material on several respected Detroit-based labels like KMS, Electrofunk, Submerge Recordings, Twilight 76 Rec, and RPD, but also on various labels such as Lo-deep (France), Purebox (Japan) and Logos (Macedonia). These EPs received massive support from many Djs, including Laurent Garnier, Underground Resistance, Carl Cox and Monika Kruse.

Now Jules Wells joined the [briquerouge] team for his first album ever

To be released on 2x12" LP limited bi-color vinyl edition in October 2023.

Support by Laurent Garner (play/radio show/new podcast Deep Search planned feature on Soundcloud)

Elissa Suckdog returns with an anthemic two-tracker on her DOG-imprint.

Having stepped up to the plate for Will & Ink’s first release in five years with the Cullen EP, Yaleesa Hall follows up with another trademark, brain boggling EP of twisted dancefloor delights. Forever pushing the envelope, Hall hits with three dynamic cuts that flow from rapid fire, synth heavy techno to glitching, low-end electro and atmospheric electronica.

Vinyl with a couple of light scuffs

Blue vinyl

Vinyl close to VG+

Cover close to VG+

She Spread Sorrow is the project of Italian industrialist Alice Kundalini. In her sparse and grimly atmospheric applications of noise, tone, and electronic sequencing, she expresses a volatile emotional core that speaks to abuse and repression with an unblinking candidness. »Orchid Seeds« was originally published as part of the instantly out of print On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt.

Movetone Wax is thrilled to unveil its second vinyl release. "Folly Path EP" showcases the combined talents of Maik Yells and the esteemed house producer Tripmastaz.

Atte Elias Kantonen is a composer and sound designer based in Helsinki, Finland. “a path with a name” follows well-received releases on Mappa and Active Listeners Club, and finds Kantonen expanding the scope of his dynamic and idiosyncratic practice. Here, he places his listeners within an auditive diorama, affording them myriad views of the microscopic landscapes contained there within. An oneiric narrative is established from the opening track, in which a heavily treated voice proposes a dialogue and introduces us to the wonders of the soundscape. This speaker appears at various points throughout the record, functioning as guide, confidant, and friend. Those familiar with Kantonen’s prior output will immediately recognize the shapeshifting, 3D timbral constructions presented here, arrangements that are positively overflowing with glimmering, delicate, polyphonic detail. This is a record that invites and welcomes speculation about the nature of the quest that it sets its listeners out upon, with Kantonen offering up trail markings to provide (dis)orientation before turning them loose to explore the soil, moss, and tide pools.

Laila’s side was recorded live at A Colourful Storm and Jolly Discs presents Thomas Bush, Princess Diana of Wales and Enchante at Cafe Oto, London on 10th July 2022. Thomas’s side was recorded live at Felt presents Laila Sakini and Thomas Bush at Ideal Bar, Copenhagen on 2nd March 2023.

The only thing slacking on this new EP from Harry Wills is the title. Four cuts of summer spread across one slice of wax.

180 gram audiophile vinyl / INCLUDES INTERPRETATIONS BY WELLS OF CLASSIC TRACKS AS ”SATISFACTION”, “IN THE MIDNIGHT HOUR”, “MY WORLD IS EMPTY WITHOUT YOU” AND “THE BOY FROM IPANEMA” / LIMITED EDITION ON TRANSLUCENT YELLOW COLOURED VINYL

The Two Sides of Mary Wells is the seventh studio album by soul singer Mary Wells, released in 1966. Wells’ career had drastically changed from just six years before when the then-teenage Wells first recorded songs for Motown. This album mixed traditional pop with more earthier and uptown soul songs. Wells released a modest hit with the Motown-esque “Dear Lover”, which hit the top ten of the R&B charts. It also includes some great interpretations by Wells of classic tracks as: “Satisfaction”, “In The Midnight Hour”, “My World Is Empty Without You” and “The Boy from Ipanema”. The Two Sides Of Mary Wells is available as a limited edition on translucent yellow coloured vinyl.

A quick five-year jump from 2018 takes us to the long-awaited comeback of the Will & Ink imprint. The Amsterdam collective was inaugurated exactly 10 years ago and has since gained fame for its exciting catalogue of forward-thinking, wonky techno experiments. One of their mainstays for years, Yaleesa Hall, now presents (drops) a fresh batch of absolute dance floor madness with the Cullen EP. The EP features four experiments in highly energetic stepping electro, broken techno, and rumbling subs. It marks an exciting return and serves as a promising taste of what's to come.

First collaboration release by Bangkok and Seoul based labels More Rice and Walls And Pals, featuring label owners Dott, Jesse You, Mogwaa and Sarayu. Four dance

Artists Kyoko Takenaka + Tomoki Sanders team with In Sheep’s Clothing Hi-Fi & Pure Person Press to release their breathtaking debut record as Planet Q.

Gatefold Single LP w/ OBI & Insert

To explore and absorb Planet Q, the new record by artists Kyoko Takenaka + Tomoki Sanders, is to become untethered from structural expectations, to reside in a realm where genre vanishes and a profound musical space remains, where the absence of gravity causes curious things to occur.

It’s a spot where handclaps may not move in time, where sonic gurgles of unknown origin offer texture, where a deep, hooky rhythm can propel a groove into the stratosphere.

At various times the tracks move like Dilla pieces, at others like Terry Riley explorations, like Flying Lotus or Milford Graves or Alice Coltrane meditations. But every time you think you’ve got the sound figured out, it hits from another angle. Though a brief missive at 33 minutes, you exit Planet Q as if leaving an utterly alien spot.

Setting: In 2021, during the covid lockdown in America, Takenaka and Sanders were both living in Tokyo without any gigs or work to be found back home. They met at a mutual friend’s cafe in the Higashi-Koenji neighborhood, and the connection was immediate. “The chances of us meeting not only someone else of the diaspora when the borders are closed, but also queer and non-binary, and also a musician? Pretty slim, and pretty fateful,” Takenaka says.

In early 2022, the Omicron variant prompted a new round of isolation. Returning to New York, they united with kindred musicians by going to private jam sessions, but at the time those evenings didn't tap the magic they were seeking. They decided to quarantine and create together. Takenaka was living alone at the time so they invited Sanders to crash there. Says Takenaka, “We made rice, ate natto, meditated and made music for seven days straight.”

That they would create something masterful does seem somehow predestined. Sanders’ late father is the brilliant composer and saxophonist Pharoah Sanders, their mother a life-long music fanatic who nurtured the same. The younger Sanders, who grew up in New York and Tokyo, has been playing music – drums, saxophone, clarinet, piano – and absorbing profound sound since they had baby teeth. Takenaka is a first-generation Nikkei Japanese American actor, butoh dancer and filmmaker who also grew up with music; their father was a jazz pianist, and by age 7 they were already singing at jam sessions in Boston. Planet Q is Takenaka and Sanders’ debut musical collaboration.

That week together in isolation was pretty ritualized. Their aim, Takenaka says, was to create “a really beautiful, secluded safe space for ourselves as qtpoc folx – a planet where we both belong – and to make music as we created the space. Basking in it. Being inside it.”

They quickly fell into a daily routine that commenced with an improvised spoken meditation, tidbits of which made it onto the record. The layout of Takenaka’s apartment – an open kitchen looking out on the living room – afforded them the chance to mix rituals. They prepped meals and sampled parts of the process. Cooking rice, making curry, eating natto – the sounds simmer throughout Planet Q. Dancing and calligraphy also informed the compositions. Takenaka calls it “embodying the process, the textures.”

Tomoki says, “Before Hip hop, in my dad’s age, the saxophone was where the rapper, or the electric guitar spotlighted. It was only $500 to buy a saxophone in the 50’s...now its anywhere from $3000-$10,000. However, we fortunately are in a current time to have a whole studio literally in our laptops – and you can get a $50 midi device from a music store or online. Time of technology has advanced the music, the sound, the production – I’m challenged to reimagine things in ways never been thought before.”

Though each piece has distinct traits, Planet Q feels more like a suite of tracks, a gathering of waveforms that, despite their differences, when woven together create an utterly striking piece. The intention-setting opening piece was born through their improvised morning meditations. Tomoki uses bells their father gifted them.

“‘My Sweet, My Tender, My Loving, Home’ is dedicated to my dad and his metaphysical and galactic sounds, that is grounding,” Tomoki says. “Every intention I put into the style of music or energy comes from him and the ancestors, or god, ‘subconsciously’ – being a continuation of his DNA but in a completely different generation and time; me matching his point of view in spirituality and raising a level of self-consciousness.”

Borders blur. Rhythms lope and gallop. “竹” is a beat-driven rush featuring Takenaka on guitar. When Sanders grabs their tenor saxophone for “Grow,” the result vibes like a funky film-noir soundtrack, with Takenaka reciting the title.

Their tools: bells, electric guitar, piano, shakers, saxophone, African thumb piano, flute, keyboard, drum programming and voice. Most importantly, Planet Q is the sound of two devoted artists committing in full to exploring the mystic, hellbent on mastering the ways that two mortals can, with focus, desire and ancestral guidance, unite in music to create something that transcends the here-and-now.

Irish DJ and producer, Ben Prophet, has caught the attention of some of the electronic scene’s most influential names in recent years. Currently residing in the underground music hub of Newcastle, his dark and exhilarating tracks have proven to captivate dancefloors. Now the artist is set to embark on his most monumental release to date, with the four track EP ‘From Dusk’. Staying distinctly true to himself, the EP channels Prophet’s love for bassline, electronica, and techno, whilst placing a key focus on mechanical vocals that add a mind-bending element that listeners can get lost in. ‘From Dusk’ will be released to the world via HAAi and Alice Pelly’s Radical New Theory label, a proven base for projecting emerging talent.

‘From Dusk’ is an EP that serves as a bold declaration. Prophet was determined to take listeners on a journey across the four tracks. Never resting on his laurels, the artist ventured into many corners of the dance world, whilst maintaining a core signature sound. Opener ‘Telepathy’ Sees Prophet build an emphatic, heavy hitting techno track, centring around a manipulated spoken-word vocal. It’s a sound that holds nothing back and is showcased again on ‘Down The Rabbit Hole’. Equally dark in its design, Prophet once more places distorted vocals at the forefront, this time displaying an industrial take on breakbeat. On the flip side, we see ‘Ocarina’ and title track ‘From Dusk’ turn the dark energy on its head with a distinctly melodic approach which adds a touch of psychedelia and high emotion to the EP. What’s clear is there’s something on ‘From Dusk’ for anyone that loves club music.

Speaking on the release, Prophet states:“HAAi has been one of the biggest inspirations for my sound, so to have become friends and to release my music on her label Radical New Theory is a massive moment for me. I’ve taken a different approach on each track, but each has my signature sound and is ready for the dance floor.”

HAAi also offers an insight into why she wanted to release ‘From Dusk’ on Radical New Theory: “Ben Prophet’s tracks have such a driving force and a dark energy to them, which is so powerful in the club. I’m extremely excited to get this record out in the world.”

Prophet’s previous releases ‘Hyper Funk EP’ and ‘King Of Rock’ on Chapeau music and Happy Wax Records respectively reached dancefloors across the world with regular plays from the likes of Mall Grab, Skream and Vtss. His gritty and energetic productions are born for the peak-time dance floor where its power creates intoxicating effects. No longer a hidden gem of the North East, the artist's music has gathered serious momentum and ‘From Dusk’ might well be the record that makes Ben Prophet a household name.

‘From Dusk’ is the third release on Radical New Theory, a label created in 2020 by HAAi and Alice Pelly which aims to shine a light on unique emerging talent, and the inevitable stars of tomorrow. Last year the label released LUXE’s debut ‘Belonging EP’ which was championed by MaryAnn Hobbs on BBC 6Music, and the artist has since gone on to tour across Europe. Whilst Ozzy, who released the labels first record ‘Een’, has since released on Barnt’s Schalen imprint. Radical New Theory was born out of a love for the craft of dance music and the careful consideration of what they release ensures the highest standards. A safe space for emerging talent, be sure to keep your eyes out for what comes next from the label

Clear and DJ Kurtiss (curtis Vodka) team-up for a double dose of fresh remixes of "feelin' U, Feelin' ME" by Alicia Keys. Taken from the multi-platinum sophomore album "the Diary OF Alicia Keys released back in '03, these house remixes breathe new life into this incredible production.

It is during the 2018 harvest of a winery near Bordeaux that Italian producer and multi-instrumentalist Fabio Bordignon decided to create his project Allez Kiki, an affectionate nickname given by his colleagues. 3 singles followed, produced behind Fabio's computer until he took out his double bass and gathered a drummer, a keyboardist and a vibraphonist to create his backing band Fermentation. Their first album is titled Gusto di Luce (taste of light) and refers to the taste wine takes when left too long in the sun. It contains 8 neat and electrifying jazz-funk instrumentals as tasteful as a glass of good wine in the summertime.

Writing on labels.

Harry Wills serves a full English: bangers, bass and breaks. But he’s caught short on the sauce…

Elissa Suckdog's first full release arrives via her own imprint, the counterpart to Klon Dump's Klon series.

Ba Dum Tish immortalizes some essential edits from Reef Berlin & Ways resident, Elissa Suckdog.

Number two on Nimble: back alley bangers dexterously delivered.

Harry Wills delivers his debut album, Luxury Bedtime on his new Nimble label.

Swiss based artist Androo, who previously released on MFM sub label Second Circle, returns with his debut LP 'Club Salon Theatre'.

Far from an album in traditional form, 'Club Salon Theatre' explores its potential as a musical collage of sound. Recorded during 2021 and the beginning of 2022, it is the result of Androo's desire to draw connections between diverse fragments of music and art.

Originally born out of the Dub sound-system scene in Geneva and with a continued love for the modal music of the likes of John and Alice Coltrane and Pharoah Sanders, Androo has long put improvisation at the center of his practice. His understanding of dub music as an integral part of the experimental music tradition, with ties to the school of Musique Concrète for instance, and with trap music as another vital ingredient, has as much to do with the form as with the method. With the studio as a laboratory for experimentation, Androo utilizes a variety of outboard instruments as well as working in-the-box, but it’s his classic “dub style” technique of mixing at the hardware console that leaves its quintessential mark throughout the whole record.

'Club Salon Theatre' is a rich patchwork of imagined scenes, emotive melodies, flying rhythms, harmonic changes, loose improvisations, with an almost romantic thread running through it. Like a collection of musical poems, gently arranged in what is sometimes sparse musical language. Far from a patchwork of scattered and disjointed inspirations, there is a real unity and singularity at work, resulting in a record which can be enjoyed as a collection of sonic poems, simultaneously nonchalant and earnest, sentimental and playful.