A huge landmark year for Nathan Micay so far, momentum in 2019 continues apace with ‘Butterfly Arcane’. This new EP follows swiftly on from the smash album ‘Blue Spring’, which was critically acclaimed and fervidly supported by a wide selection of world class DJs.
“Musically the EP contains explorations for the dancefloor with weird-ass melodic structures that stem from the same sound pallet as ‘Blue Spring’” says Nathan.
‘I'm Your Huckleberry’ is a surging flood of serotonin rush, with captivating proggy peaks and troughs akin to classic era Underworld and Leftfield, but with inventive new twists.
The melodic and breakbeat-driven ‘This'll Tell The Tale’ evokes a 6am lazer vortex, whilst ‘Did U Know I Cannot Die’ is part DJ tool and part crystalline ambience that floats somewhere between Tangerine Dream and Vangelis.
Already a massive worldwide anthem, ‘The Party We Could Have Had’ epitomises Micay’s ability to breathe new life info the early/mid 90s purple patch where prog, trance, electronica and techno blurred beautifully together.
The EP offers all those fans who weren’t able to grab Micay’s now highly-sought-after Manga inspired comic that came with the special edition of the album another chance, as an updated version will be available with this release, with an added foreword by music theorist/technologist and Holly Herndon collaborator Mat Dryhurst.

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Toronto born, Berlin based DJ/producer Nathan Micay (formerly Bwana) will release his highly anticipated debut album, ‘Blue Spring’, via LuckyMe.
The impeccable craft found in the huge past anthems that fuelled his rise is still present, but Micay has upped his own ante; a prodigious and natural creator, this is his best work yet. Highly melodic with complex but spacious sound design, this inspired work is a technicolour ride across sub bass, celestial future breakbeat, drum-roll-fuelled dancefloor rollercoasters, soaring euphoria, otherworldly soundscapes, weightless sino and even a bit of ¾ time. Micay has found a sweet-spot between prog, trance, techno, hardcore, jungle, IDM and ambient, in a renewed twist on the magic mix that birthed Future Sound of London’s hybrid classic ‘Accelerator’.
To create the album artwork, Nathan wrote a script outline, which was adapted by Peter Marsden into a comic, in turn illustrated by Dominic Flannigan, in tribute to the highly-influential Manga artist Katsuhiro Otomo. The comic sees a young data miner rebel by attending a rave in the woods with her friends, only for the event to be broken up by the ranks of a futuristic police state. ‘Blue Spring’ is the start of the revolution.
With unnamed album tracks having already appeared on multiple RA mixes, Essential Mixes, Boiler Room sets, festival stages and dancefloors, music from this album has stealthily been whipping electronic music fans into a frenzy for some time, most notably in countless Shazams and posts on the Identification Of Music Facebook group. He has released on Whities and ESP institute, plus Aus, Cin Cin, and LuckyMe under his former alias, Bwana.

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Nathan Micay fell asleep in the schnee and awoke in the shvitz. Side A’s Never Rhythm Game is a bubbling cauldron of acid worms, almost seven steady minutes of liquid squelch and bleep riding on a rolling assortment of booming kicks and claps, all glued together by a droning string and soaring feedback modulation. Aimed for peak time, this big-room monster is built on a major chord that carries us to the perfect rave apex, and functions as a pivot from where DJs can steer into any subsequent direction. Side B’s Team Player is equally poignant, yet in contrast to its optimistic predecessor, here we join in a dark mechanical affair that summons influence from a distant sci-fi metropolis – sophisticated metallic rhythms that are not polished but scrubbed with steel wool, and lead by a seductive robot that chants degenerate dancing instructions. These two songs will oil your engine and grease your gears.

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"The Invention of The Human" is designed as a response to the question "what makes us human?" The question has become increasingly important in this period of history, in that many of the answers aren't good enough. "Civilisation" could be one answer; but what good is civilization where there is so much misery within it? "Progress" could be another; but what good is progress without kindness and empathy to sustain it? Taking the thought of man's relationship with technology as a measure of humanity, I asked the computer "what do you think a human sounds like?", and with that I built this album of synthesised vocals, wondering if technological development can help explain what we are.

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The connection between destruction and creation. Creation in different shapes. Life's complexity and finding a devotion to the Flux. Some tracks are begining to transmit new visions.

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Experimental musician Rupert Clervaux releases his debut solo album ‘After Masterpieces’ on Whities. The record features guest performances from saxophonist and trumpet player Eben Bull, singer Sian Ahern, and renowned experimental artist Anna Homler (aka Breadwoman) whose inimitable voice ushers us into the record’s opening prelude, and out of its redemptive final piece. ‘After Masterpieces’ sets six recitals of Rupert’s poetry in unique, unpredictable and expansive musical scenery. The enigmatic and densely compacted texts, reworked and gently honed throughout the album’s slow creation, find an aerial perspective from which a lifetime of reading, listening and thinking is carefully re-mapped. The broad thematic scope takes in aesthetics, ancient mythologies, the origins of language and music, epistemology and ecology––to name just a few––all of which remain tightly intertwined, resistant to abstraction, and imbued with a sense of inquisitive ambiguity which treats all certainty with suspicion: the listener is invited to find their own threads, draw their own conclusions and think their own thoughts

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Whities 014 is by Londoner and master digger, Jules Venturini. Itâ??s a 3 track 12â? of discordant choral euphoria with artwork designed by Alex McCullough.



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Oh you reckon do you? solid as two tracker from this unfathomable geezer..

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Whities come with this a tasty one from San Francisco born / Berlin based Avalon Emerson. 3 Tracks on a theme

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After a cool debut on Pinkman, here's Reckonwrong with more experiments - this time on Whities (Young Turks Sub Label) ... and it's Pink...with trumpets!

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