Search "boddhi+satva" 61 Items

Still sealed. Tiny corner wear. Violet vinyl.

180g Double LP (45 rpm) marbled transparent red Colored Vinyl in gatefold cover (Incl. Download code*). With 11 tracks spanning from the origins in 1990 to the rebirth since 2005, N9's most wanted releases are here, remastered by French sonic wizard André Dalcan, ready to get turntables at the right 33+8 mood, and get the white glove raised again!

Synth wizard, soundtrack composer, and Zombi member, Steve Moore expands further on his stark and drama filled cosmic sound with a new six track lp. These tracks call to mind to his early-L.I.E.S. releases, where Moore focused on cold arppegations and basic beat constructions to fuel his epic productions which center around pristine soaring synthscapes. A master of the genre, Moore gives us an equal mix of explosive, creepy home at the end of a dark street floor fodder as well as slower tempo cosmic headcrushers, all capable of getting your head or niteclub in a frenzy. Beyond epic!!!

180g Double LP (45 rpm) black vinyl pressing, gatefold cover (incl. download code). With 11 tracks spanning from the origins in 1990 to the rebirth since 2005, N9's most wanted releases are here, remastered by French sonic wizard André Dalcan, ready to get turntables at the right 33+8 mood, and get the white glove raised again!

Chiptune dance electro pop from Japanese project Sexy-Synthesizer. Their sound is characterized by 1980's arcade sound effects and familiar electronic sounds, with vocoder vocals singing over all that.

Unhuman & Petra Flurr is the collaborative synthpunk-technoid project of Bite label stalwart, Berlin-based Greek artist Unhuman and legendary queer wave figure Petra Flurr. 'Mala Vida' is their debut album on Bite that further evolves their sound beyond genre borders. The duo deliver an 8-track LP consisting of punk body music exhibiting the team's mastery on production, their androgynous vision and diverse influences. Petra Flurr's staggered, often effected, vocals cruise over pounding beats, bold iconic hooks and psychedelic atmospheres. His lyrics reference the seedy underbelly of Berlin's sex underground. Meanwhile, Unhuman's productions broadly range from the post-punk references of 'Labyrinth' to the new beat grooves of 'Short Life' featuring Ukrainian duo Garden Krist to the melodic orchestrations of 'Rush'. All this is reinterpreted by techno duo New Frames on a digital remix of 'Unzivilisiert'. 'Mala Vida' is a direct inspiration from their debut performance at Berghain for last year's Bite label night. After which, they swiftly retreated to the studio to compose, still in their platform heels. The two paint a coat of neon red over their preexisting batcave of sound. While the artwork by Liam Noonan compliments the gender fluidness of the album, distorting and digitally manipulating images of the creators themselves. Using heavy rhythmics, wavy mandates, an androgynous stare and unavoidable sexuality, Unhuman & Petra Flurr introduce us to their culled brand of queer death techno. Always with a wink.

Marking over 16 years as an artist, Robert James unveils his debut album Battle of The Planets. A milestone in any musician’s career, the LP illustrates the breadth of Rob’s tastes and influences, exploring the rugged terrain of planet electronica. Ranging from breaks and electro to house and techno, Battle of The Planets was made during lockdown, a period of creativity and isolation for many artists around the world. Across 10 skillfully produced cuts Rob takes us on an intrepid adventure into the cosmos, where mysterious atmospheres and uplifting melodies sit side by side with captivating dance floor rhythms. Many shades of his personality come through on this album, all tied together by his unique sonic identity; informed by his years spent on the dance floor, behind the decks and in the studio. On Battle of The Planets Robert James presents a distillation of his extensive knowledge and experience into one succinct, highly engaging body of work.

Hot out of Lisbon’s ghetto sprawl, 19 year old Puto Tito breaks thru on Príncipe with 20 tracks produced when he was barely into his teens, all salvaged from an old Soundcloud account and newly remastered for the dance. The sound of ‘Carregando a Vida Atrás das Costas’ is patently influenced by Tito’s Angolan heritage, and faithfully employs the popular slow Tarraxho and tougher Kuduro rhythm styles. Yet, like the best of Príncipe’s releases, it’s the way he injects a playful, weirdo character and uncompromising, psychedelic vision to his trax that sets Tito’s music apart form the crowd, whilst being very much connected to it.

Standard black vinyl version.The band's third studio album, 'T(h)reats', takes inspiration from a series of explosive live shows in 2019 and is a reaction to the current situation we find ourselves in; art and music can be a treat in these strange and uncertain times

France, 1990. Fun Radio, NRJ, Skyrock set a new pace, and their crushing hegemony irrevocably marks the end of the free radio utopia. The giants become vital in the hit industry and carry on fuelling France’s greatest invention: la variété. A quintessentially French version of British dance pop with a very specific tang to it, too coy to emulate trendy clubs’ and rave parties’ music, europop cautiously tests the waters of what will soon turn into a tsunami : house music. Is house the soundtrack of the 90s? In Europe, it gave steam to comeback bands just as much as to the most memorable formations of the decade, while in France it paved the way for the global success of French Touch. “Real” house music emerges in early 80’s Chicago (where the Warehouse club, which allegedly gave its name to the genre, closes down in 1983). England’s acid house and Belgium’s new beat, its European offshoots, fed the cravings of tabloids in 1988 and 1989. The house music we’re interested in though, the type bound to soon overwhelm European charts, is already pretty far away from the afro-american music born in Chicago. So far away it inherited a new name: dance music. Just like it had been the case with disco a few years back, house and techno aren’t exactly in the good books – acid house and new beat even less so. And it’s precisely the genre’s mainstream iteration this compilation focuses on; the house en français, which strives to get on board the running train in 1990. The house which sports the all-over jean look, bandana, cap, chewing gum, peugeot 205 complete with snazzy beats on the radio. The big deal big fuss type, miles away from the original, underground house. It might not have been born in the nineties, but that’s clearly when house music became mainstream. What underpins house music might even be what is to define the decade to come: jingles and pin’s, megaclubs and clips. That and the hits. Very soon house is everywhere: on the air of the big radio stations and on TV, creeping in as far as kids’ programs. The French may not even notice, but they’re all listening to it. Meanwhile, music producers smell the gravy and, willy-nilly with the earnest, enlightened amateurs, propose their very own club versions, cross breeding French variété and house. The result: a chart and club ready ersatz that is to quickly seduce young audiences. Hits, that’s what we want – or tubes for the French, like in House Tube, one of the landmarks of this compilation. The tracklist, like the soundtrack to a club night that never happened, fictitiously reconstructs the fleeting moment when house made its arrival in France, bridging the gap between variété and eurodance. House quiproquo House music barges in like a UFO on European land. With the arrival of this repetitive, yet transgressive music, tabloids freak out, while widespread incomprehension over the genre inspires dubious misconceptions. The media are happy to suckle on the music’s popularity, though well hidden behind the veil of decorum: NRJ airs a remake of a famous new beat track, Rock To The Beat, in which, however, “ecstasy” is swapped for “fantasy”. Dechavanne, thoughtful as usual, calls fans junkies and nazis on his tv show, Ciel Mon Mardi – though the show’s theme song is nothing else than a house track. The footage became a classic, and the comments, sampled by producers, provided the vocals for a flagship new beat track (Dr. Smiley – L’Echo Dechavanne). The Dechavanne episode is representative of the general confusion surrounding this barbarian music; skepticism remained high, even (if not more so?) in the musical world. In fact, it’s the subject of the unequivocal House Tube: “House tube, bouse tube ; on n’aime pas vraiment le house tube House soupe, bouse soupe ; on n’aime pas vraiment le house soupe” That is: “House hits, house shit; we don’t really dig house hits House soup, shit soup; we don’t really dig house soup” The success of house music inspired many exasperated reactions, just like House Tube (the B-side of a deodorant ad’s theme). Laurent Castellvi, surprised that the joke-track he composed at the time still sparked interest, told us: “At the beginning of the nineties, house was all over the radio. It annoyed me a little that most tracks were based on the same two chords. House Tube is a joke, it’s me sitting at the piano playing two chords. And that’s what the lyrics say.” On the other hand and following up with the next track, Fred de Fred was clearly in the know. The Frenchman had moved to the epicentre of the English commotion, Sheffield, a few years prior to the arrival of house. That’s where Warp (Autechre, Aphex Twin) originated – and at the time Warp still went by the name FON, Fred already hung around in their studios. Robert Gordon, Fred’s pal and co-founder of the label, signs the remix of one of his 1989 tracks, Sous Sous. In 1991, he composes a record of songs, and when it comes to pairing a suitable club remix single, Fred knows what’s up. Je T’Aime En Amour, sleek rock, mutates into a syncretism of french chanson and nearly rave breakbeat (here provided in its “2020” version). Fred de Fred is exemplary of the variété-club crossover driving this record; his career started within the collective ZNR, he crossed paths with the likes of Alain Bashung and then the Stone Roses, was close to Warp, and ended up signing a record on Barclay. Studio sharks Electronic musicians are often referred to as “producers”. This emanates from the delimitation of roles in the making of recorded music, traditionally assigned as singer, songwriter and producer. The latter takes care of the recording per se; that is, he manages the project, rents the studio, hires the musicians (known as requins de studio – studio sharks – for accumulating studio sessions) and cashes in at the end. The artist in electronic music is the producer alone, who essentially combines all roles at once: totally autonomous in his home studio, he can do without musicians or singers. The moment we’re interested in is this transitory period in which the two types of producers coexist. On the one hand, the new producers, like Fred Rister with Everybody Dancing, who recorded in a shack on a 4-track recorder, according to the sound engineer. On the other, the revival of old brigade producers, always on the lookout for a hot deal. The producer behind Près De Toi is of the latter type – pursuing a long musical career though quick to forget Claire-An (and so did posterity). New beat’s heritage isn’t negligible : its pioneers fashioned the “new generation” producer formula, a one-man-band in his machine-filled home studio. They’re also the first to churn out major hits, hitting the floor of a few Belgian clubs and eventually making it to the European top 50. What seems like mad creative abundance (hundreds of tracks between 1987 and 1989) is in fact the work of a handful of Belgian producers, barely ten, hidden behind multiple aliases. Among them, Marc Neuttiens, Jack Mauer and Fabian Van Messen, who often work as a trio and produce some of the genre’s most iconic tracks. In the midst of which On Se Calme, produced under the name Bassline Boys, sampling none other than Christophe Dechavanne. It’s no coincidence then that Anne Zamberlan should knock on their door with in mind the idea of an antidrug track. She wants to make noise, they know how to make a hit. And the track has it all: proto-acid gimmicks, big beat, house piano, verses rapped with a hiphouse flow… It might have been great, but even a Virgin Megastore ad she appeared in two years later got her more success. À la folie, je danse This tale is also the one of the pioneers who brought house music to France, first on the radio, well before rave parties or Laurent Garnier’s nights in Paris. As soon as the early eighties, Robert Levy Provençal plays the edits of the young Dimitri from Paris on the airwaves of Radio 7. At the time they’re unusual: like one would use samples in hip hop, Dimitri loops soul, funk and disco tracks, creating extended mixes. He breaks down tracks, reducing them to a gimmick or a bass line, thus creating easy-to-mix tools for DJs and bringing them closer to the sounds of house and techno music. He soon becomes resident DJ on NRJ and hosts the popular show Hot Mix. Like his colleague RLP, Dimitri proposes a trailblazing selection, blending together French news and the odd new sound from the States. At the turn of the nineties, when europop wants in at the club, only these influencers master the dance side of things. There’s RLP, Bibi Fricotin, Dom T… And Dimitri, who becomes the assigned variété remixer, adapting dozens of songs that were never meant to make it into a club. The general tendency however is less to official remixes than to bootlegs: a “pirate”, unauthorised and often private remix – just like Jacques Dutronc’s Opium, stretched out into a nearly 7-minute-long mix. The nineties also set the stage for the first TV stars, the ones who become famous without anyone really knowing why. Take, say, Jordy, four years old. The kid, in his diapers, sings along a New York style, house piano production and somehow makes it to the top 50’s number 1. For years, Jordy plays out the role of the child star and demonstrates that dance music is a perfectly profitable affair: it fuels the radios turned juggernauts, and lands on TV, seeping through music programs… In 1989, Vincent Lagaf (a famous french TV host) dives in with Bo Le Lavabo. The pitch is simple: the TV host adapts a track well known overseas, Lil Louis’ French Kiss (without any direct reference), simply adding lyrics taken from a sketch. He’s rather clear on his intentions (“Well, that’s just how you make it to the top 50”) and has no mercy for a musical genre he clearly understands nothing about (“See? Easy.”). Single night stars The club is a democratic place where anyone can be a star for a night (a nineties remix of Andy Warhol’s famous saying, meaning to imply: never has fame been so near, yet so far). The ghost of stardom haunts all of these forgotten tracks… This is particularly true in the case of Techno 90, Fred Rister’s first band. The DJ hailing from Northern France takes part in the short-lived though seminal Maxximum radio and mixes everywhere on both sides of the Belgian border, quickly becoming a local celebrity. At the turn of the century, he starts collaborating with David Guetta – another DJ, slightly better known than Rister and a rising star of the Parisian club scene. Together they eventually co-sign a few global hits: Love Is Gone, When Love Takes Over, I Gotta Feeling. This tale is the story of French variété’s unforeseen encounter with the avant-garde, of DJs who rose to the status of pop stars and others who descended deep into the rave party scene. It’s all of these oddities our compilation seeks to recount, like a wacky TV show featuring anonymous stars, forgotten ghosts of a decade bygone (Jacques Dutronc, Jean-Francois Maurice) or yet to come (David Guetta), inspired though unlucky blokes plus a girl band. And somewhere in the shambles, the tracklist of our compilation, the B-side of dance music’s official story – what could have been France’s alternative hit machine.

Absolute Body Control is back with new material after more than ten years. The legendary minimal-synth-wave duo formed in 1980 by Dirk Ivens (The Klinik, Dive, Sonar) and joined a bit later by Eric van Wonterghem (Insekt, Monolith) has been working together again and got finished a new EP. Six songs that fuse their classic sound with a theme that reflects the times of change that humanity is going through.

Vinyl close to VG+

Body Meat—the project of Philadelphia-based multi-instrumentalist and producer Christopher Taylor. Streched and bold out of shape pop accompanied by mangled electronics that meld together like a beautiful peice of abstract dance. full info soon!

Steffi and Virginia return with an eight-track double EP on Ostgut Ton, inviting us into new dimensions of the sonic world they have crafted together over a number of years. Work A Change is out September 20, 2019 on 2x12” vinyl and in digital formats. Since their iconic 2011 collaboration “Yours” – which became an instant classic – the duo have experimented with new ways to express their unique strand of dancefloor melancholy. Unlike the grand maximalism often associated with vocals in dance music, Steffi and Virginia’s creations use the voice less as a centerpiece and more an integral part of the groove itself, subtle in temperament and equal to its counterparts. Impassioned vocals spiral around melodic leads and warm harmonies, offering a gentle kind of catharsis that deepens with each listen. Work A Change immediately transports us to a parallel aural universe, refusing to settle into one style and merging multiple references into peculiar new formats.

Emotional Response presents Elektronik Body Girl, a musical alter-ego of artist Shelbatra Jashari, with production by soFa elsewhere. Spontaneously born out of 2 souls in an imaginary industrial wasteland of earthly survivors, this Belgo-Albanian postpunk extravaganza is perfectly suited for our unreal times.

Infused with raw attitude and improvisational approach, Shelbatra is an artist, dancer, performer, and singer in search of challenges and expressive forms into new territory, with an individual way in dealing with the ""empowering feminine" and its representation - a vision central to her artistic creation.

Teaming up with Brussels based soFa DJ, they debut an EP of challenging story-telling comes backed with a wonderfully conjured beatdown remix by label associate, Tolouse Low Trax, to act as a seal of dis)approval.

First known as a DJ and selector and then compilation curator of the "elsewhere" series of albums across multiple labels - including Emotional Response Ers042) - soFa recent collaborations as Mameen 3 on Bongo Joe, Cccvvv on Strangelove Music and the highly praised album with Houschyar and Okay Temiz on Second Circle, has established him as a producer of repute in an incredibly short time space.

Taking a production backseat to underpin Jashari's performance, his percussive, atmospheric oeuvre allows her vocals to explore roots in both Kosova and Belgium, molding a focus on the art of "the other" or the outsider. Outside the "normality"", a different energy is heard. Exploring elements of the human body, the human condition and its representation in various "thinking" systems and political contexts, EBG is manifestation in sound and movement.

Othr is the techno alias of Khidi resident and Tbilisi native Ladouka Ninua releasing his first EP on Bite 'Scythe Of Vyse'. One of the most prominent musicians in the Georgian electronic music community, his involvement and support has left a legacy that has established him at the center of Tbilisi's club scene. 'Scythe Of Vyse' represents Ninua's accumulation of uncertainty and isolation from the past years in Tbilisi and cathartically releases it into a triumphant record with singular sound design of metallic samples of groove that sound of a bygone age yet from a cybernetic future. With releases on Khidi's own label and collaborations with Ancient Methods already, this EP marks a new beginning for Othr as he steps into new, uncharted territory in electronic music with his singular style.

Dutch Sp1200 wizard Kid Sundance delivers pure heat to the Ilian Beat Series.

Finnish band Behind The Trees releases their self titled debut ep. Curiosity towards world music, shamanistic approach to rhythms and cosmic levels in life made it happen. There are five different kind of tracks in the ep. The intro track "Haiku" is a mood setter for the whole journey. Inspired by the mid eastern mystical soundscapes. Second track "Bonefire" follows the path, painting a picture of desert campfire, where travellers psychedelic guitar will trip you out as your body follows the rhythm. Third track "Acid Yerli" is the climax on the ep. Turkish disco and acid house combined, you don ́t have to be scientist to figure out the forecast. On the flip side "x4" is a different kind of expedition. Hear the waves hitting the rocks and balearic breese corressing your cheek bones. Track "x4" is a kind of balearic homage to eighties AOR, seasoned with chanting soft voice of Finnish singer Suva. Last track "Gentle" relaxes your mind and body. The piece has a grounding vibe, with healing resonances that will restore your energy. Dare to see Behind the Trees, the obscure adventure of life.

White vinyl seems unplayed. Label cover.

Chicago based DJ/producer Andrew Joseph drops his 2nd EP under his PTO alias (following the “DRINKS/CASUAL FRIDAY” 12" released in 2018). The record is a celebration of the 808 and its renowned ability to get the party started. The 4 track house EP feats an electro remix of the title track from living legend Egyptian Lover! Italian producer Nico Lahs of Adeen Records fame gives it a smooth but dark and moody deep house remix followed by the electro jam "way Out".

A new Glasgow label Future State opens its doors with an EP from one of the city’s finest, the inimitable Pigeon Steve. It’s a certified trip throughout, whether it’s the acid-tinged breakbeats of the opening track ‘Do You Wish To Be Saved?’ or the hypnotic chug of ‘Chuffalump’ and ‘Trancit (Hypno Mix)’. The record closes out in fine style with ‘Polemico’, a techno-trance beauty with some serious bassweight.

Introducing BinarySound's 8th vinyl release, a sonic journey into the dimension of analog machines mastery. On the A side, Future Buddha, the latest alter ego of the renowned Italian artist Riccardo, now weaving sonic tales from the mystical landscapes of India. On the B side, hailing from the vibrant Canadian scene, Cosmic JD brings his soundscapes, steeped in the raw essence of analog synthesis, promising an interstellar voyage for the listener.

This 7" double-header delves into the vast vaults of Bobby Orlando, a prolific New York producer whose muscular mutations of electro, Italo-disco, freestyle and Hi-NRG were popular in gay clubs around the globe. He specialized in "concept groups" - made-up acts fronted by session singers who were hired in to front the tracks he produced. Two of these concept acts are showcased here. On the A-side you'll find "Yum Yum (Eat 'Em Up)" by The Beat Box Boys, a stripped-back and slightly silly - but undeniably fun - electro workout from 1985. On the B-side you'll find an edited version of the Latin Rascals dub of fine 1985 freestyle cut "Set Me Free", which was credited to Teen Rock and bears some similarities to Orlando's early productions for the Pet Shop Boys.

Steffi's fourth solo album, The Red Hunter gets remixed! This killer package with remixes by artists close to Steffi's heart, represent her musical bandwidth with a very diverse mix from ambient, IDM, broken beat to electro, techno, and drum & bass! The special vinyl version opens with Convextion aka E.R.P who delivers his signature with a 10 minute ultra deep, beautiful, techno/electro journey. Italian talent Rosati drops a high energy chord techno monster and UK duo Tracing Xircles throw us in a deep trippy bath with their mixture of IDM with a lush broken beat banger!

Packed Rich is on fire, this time joining forces with IROCC for Pacced Rock. Blast these loud and move yo ass!

Monogold EP is raw, polished and bold. The drums hit hard and the chords that shadow them are constantly on the move. It is where techno meets meditation, strangeness and mystery. Equipped with a Efdemin remix to keep the dancefloor going. Vinyl-only!

Packed Rich is back with the second record on our beat series, but this time he brought his childhood friend Sleepy Boy for an intergalactic space trip.

"Great teamwork from Stilleben youth crew Br. Beta, Sir Kenneth & Dataintrang. Could write a novel about this record but all i can say, is let the music play. Electro Electro." Luke Eargoggle / Stilleben

Hypnotic sunrise starts as it means to go on with a debut outing from the noisy neighbors, Bad Flatmates (Tzena & Dea). Three originals from the dynamic duo, and a remix from Bizarre Trax beatmaker oliver.r. Mysterious tales of curiosity, maneuvering between stripped back sounds, and otherworldly textures. Sitting firmly as the A1 is “Major Minor”, bubbling synths teasing you towards the chugging drive of the track, meticulously arranged to create a well rounded trip. Felon5 member oliver.r addresses a more housey direction with his remix, cruising on an elastic groove implementing the blissful pads from the original. Shuffling drums lead the way in “Chemicals Between Us” conversing with the shimmering elements, rounding off the EP is further mind stretching material in the form of “Lepa Igra”. Bad Flatmates by name, great music by nature.

Yes sophmore release brings us a 6-track EP by label's founder Stevie Whisper including collabs with Andria, 33.10.3402, Wilson and Mystee. Nofield music with some spoken-word-shoegaze. Belgrade all in.

Excellent off-kilter Electro / House EP

"Goodmorning. I wish you, a merry merry christmas. As you sit by the fire. I see your sadness on your face. You hear the funny bells inside your head. And I do look into your pretty eyes. So gray. The Funny Bells. You are my friend. Today." au

Never released before. French computer music recorded by Fabrice Luquet and Stéphane Bodin (aka Fa Fane > Delodio) in 1989 when they met in Poitiers (fr) at art school, using only an Amiga 500 computer and a tape recorder machine.

DOMINA TRXXX presents Steve Murphy & Carlo Di Roma! Steve already released the great "Automatic EP" in 2017 on our imprint. Now he teamed up with his friend and italian Dj Legend, Carlo Di Roma who delivered us two beautiful and unreleased tracks from 1997!

Includes original insert.

tiny wear

Super dope debut from this new producer straight from Ireland. We welcome Jared aka BTU who joins the family business. Jared delivers a pulsating and emotive track, a stellar house journey into the mind. He is accompanied by the one and only, Pepe. He delivers colorful track that picks influences from Miami bass and electro, super silky and strong as always.

Vinyl with a couple of light scuffs. Cover close to NM

Lime green vinyl

It’s been a while since we last heard from Steve Summers, one of the many musical aliases of former Brooklyn and Berlin resident turned Chicago-based producer Jason Letkiewicz. When he last landed on proudly Chicagoan imprint Clear with the robust and unearthly “Artificial Light” EP, it was on the back of nine years spent building up Steve Summers as a purveyor of forthright club cuts that pushed at the limits of acceptability. That was 2017. In the three years since, Letkiewicz has prioritized projects that indulge different sides of his complex musical persona. There was the critically acclaimed, all-action Mutant Beat Dance “record album booklet” on Rush Hour – a collaboration with Melvin Oliphant III and Beau Wanzer – and then the EBM, electro and industrial-influenced grooves of Opposing Currents on Artificial Dance. 2018 also saw him release the sophomore set from his 1980s horror soundtrack-infused Death Commando project, while in 2019 Letkiewicz finally put out his first album under his given name – the picturesque new age and ambient movements of “The Reflecting Pool” on Into The Light. But that was then. Now Letkiewicz has finally donned the Steve Summers pseudonym again for a return to Clear that’s defiantly intense and otherworldly in tone, “Counter-Factuals” is powered primarily by the kind of psychedelic acid lines and thrusting machine drums that have long been a hallmark of Chicago house. This is no nostalgia-fest though, with Letkiewicz’s take on “acid” being more abstract and unorthodox than the music of his predecessors. Proof of this analysis arrives straight away, with EP opener “Counter- Factuals” ratcheting up the intensity through waves of hallucinatory acid lines, blunted electronics, druggy male vocal samples and clanking machine beats. Letkiewicz takes similar sonic approach on “People Watching”, whose full-throttle approach cuts a path through jacking acid house, surging EBM and the more dystopian aspects of 1980s industrial music. Over on side B, Letkiewicz combines all of these sounds and inspirations on a cut that pivots around the twin attractions of trance-inducing acid lines and hypnotic analogue beats. Clocking in at a fraction less than nine minutes, the track surges forward relentlessly on a tornado of off-key electronics, fizzing Tb-303 acid lines and barely audible speech snippets. It seems a fitting conclusion to one of Letkiewicz’s most impactful releases to date.

Vinyl with a couple of light scuffs