Numbers will release ‘Clear’, the debut album by FFT, on 24th June 2022.The result of three years of focused writing and programming by the London-based producer, ‘Clear’ is deeply psychedelic, defined by a mature sense of melody and structures crafted at a monumental scale.

Though FFT has previously released a handful of tracks under various names, it wasn’t until 2017’s ‘FFT1’ EP on theUncertainty Principle label that his production talents began to fuse into a distinct and personal style, especially evident in FFT’s‘Regional/Loss’ EP on The Trilogy Tapes in 2019, multiple releases on Bruk Records and2021’s ‘Disturb Roqe,’also released on Numbers.Through it all, FFT has mastered a complex sense of mood catalyzed by sound itself: He builds patches and presets from scratch, and feels these synths and software have their own objectives and reactions, creating a kind of compositional feedback loop.The result is an album that brings to mind a collision of electronic pioneers like Delia Derbyshire and Bernard Parmegiani, 2000’s braindance, the Max-imized wares of an OPN or Objekt and the rough rhythmatics of SND or Mika Vainio

The layering of sonic elements and intentions is starkly audible across these nine tracks.They can be seismically concussive and grandiose, but granular and fluid - echoing the Icelandic volcanic eruption that features in the artwork photography byGeorge Cowan. ‘Clear (Eight-Circuit Mix)’sets a euphoric tone immediately accelerated by the jagged sounds and vocal textures of ‘Redeemer’. ‘3 Sided’ channels hyper-urbanity from its almost entirely analogue palette, and by contrast ‘Disturb Roqe 2’is bracingly digital, gyrating in random cycles between clustered percussion, metallic splinters of audio and artificial vocal tics.

Opening side two, ‘You’ve Changed’ adheres to a more abrasive core, while ‘Heal’ and ‘Heal (Alt Mix)’evolved out of linked pieces in FFT’s live sets that grew into complete tracks in the months before Covid-19.The significant intensity of ‘Heal’ in particular was refined during strobe-heavy live performances and is the album at its most turbulent, the claustrophobia interrupted by dazzling arpeggios.The overall impact of 'Clear' is cinematic and precise, marking the arrival of an impressive electronic musician who is not new but has come into his own as a fully developed artist

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The Bristol-based composer and producer FFT signs to Numbers for Disturb Roqe and an album to follow in 2022.

Disturb Roqe is out on vinyl & digital on December 3rd, 2021. The EP presents three meticulous, spacious tracks that channel bass-heavy tendencies, with whirring details that showcase masterly sound design in a controlled yet aggressive delivery.

Josh Thompson has released music dispersed across a number of labels, including The Trilogy Tapes, Low End Activist’s Bruk Records, his own Super Hexagon imprint and more. Through transmitting under a series of obscurant aliases, he composed and created while leading a nomadic life between houses, cities, occupations and attractions.

His body of work demonstrates an impressive, evolving artistry, exploring harmonic and textural sounds underlined by a powerful devotion to computer-based production. It’s a focus captured by his artist name FFT, short for Fast Fourier Transform, a process by which signals can be converted from temporal or spatial to frequency domains, or in the other direction.

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A five track EP from new UK-based label Uncertainty Principle. fft1 is the first record under the FFT moniker for a young producer who has been making various names for himself for five years now. fft1 combines super tight high-tech production with ’90s bleep and rave stylings to bring a unique experimental electro/techno sound which sits nicely alongside techno, electro and ghetto-tech in the mix. Solid support for this record comes from Kirsti (null+void), Happa, Julia Govor and Mor Elian.


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Blawan's new side project Bored Young Adults is up next on Will Bankhead's label The Trilogy Tapes. The Shy Dancers On Bungalowdorf Beach features some restrained and slow burning techno experiments that differ from Jamie Robert's more usual hard-hitting sounds. The seething title track treads the same path as Kassem Mosse or Vactrol Park. The Fentanyl techno of "But We Need This Bench" sounds like an old Regis record played on -8, while devoted fans of the young UK producer's sound will get something a bit more familiar on the menacing hypnotic techno grinder "Check Up From The Neck Up".



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Following the announcement that they've collaborated with perma-masked Zomby on his upcoming LP for Hyperdub, behooded hardware manglers Rezzett return to home soil for their latest, and perhaps best so far, 12" for The Trilogy Tapes. With a very defined, redlining approach to techno and hardcore tropes established across their prior output on Will Bankhead's label, the duo demonstrate there is still plenty of scope for invention on Doyce. In essence you get two versions of the same track either side of this 12"; the A-side is nominally the club cut though there is a feeling of restraint where usually Rezzett deal in speaker bursting madness. The "Yavas" version on the flip is quite something else however, discarding with any rhythmic elements over an eleven-minute journey into mind-bending sonics based around that quite exquisite mangled synth line.

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Blawan's new side project Bored Young Adults is up next on Will Bankhead's label The Trilogy Tapes. The Shy Dancers On Bungalowdorf Beach features some restrained and slow burning techno experiments that differ from Jamie Robert's more usual hard-hitting sounds. The seething title track treads the same path as Kassem Mosse or Vactrol Park. The Fentanyl techno of "But We Need This Bench" sounds like an old Regis record played on -8, while devoted fans of the young UK producer's sound will get something a bit more familiar on the menacing hypnotic techno grinder "Check Up From The Neck Up".



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Terrific record! Eight charged, intimate meditations by Julie Normal and Olivier Demeaux, playing a rickety ondes Martenot and an old church harmonium. Gripping, detailed, stately improvisation — a bit like the ùrlars in classical bagpipe music — which nervily mixes the sternly doom-laden with precarious, other-worldly wonderment. (The ondes Martenot is an amazing twentieth-century instrument — beloved by Messiaen, for example, and Varese. The theme-song of Star Trek is a vocal forgery of its sound. ‘J’aime cette fragilité qui côtoie la capacité de te décoller le tympan sur certaines fréquences inopinément,’ says Julie. ‘Je tiens une bombe dans les mains. J’aime son instabilité, son humanité.’) Wood, breath, blood, eggshells… on the night of a purple moon. Very warmly recommended.

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Four track EP produced by Samo DJ & Elias Landberg.

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Under his Chemotex alias, Marcos Cabral has been one of The Trilogy Tapes most productive artists in recent times. This is his third 12" for Will Bankhead's imprint in less than 12 months. Unlike Cabral's recent album for L.I.E.S, which reveled in its' own distorted, balls-out intensity, Thulsa strives to get a balance between becalmed techno hypnotism, skuzzy grooves and gently melodious intent. This blend is perhaps most satisfyingly mixed on the industrial-tinged clank of "Delta City", though the woozier, scuffled late night warmth of "Music For Security" pushes it close. Twice he heads towards deeper territory; first on the title track's trance-inducing synthesizer loop groove, and secondly on the dubby, locked-in tech-house majesty of "Lorentz".

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Coruscating cut-ups yanked still dripping and yowling from the belly of the beast. Dazzling and invigorating, scary and discombobulating. 'Psychic driving was a psychiatric procedure in which patients were subjected to a continuously repeated audio message on a looped tape, in order to alter their behaviour... often hundreds of thousands of repetitions of a single statement over the course of their treatment. They were also concurrently administered muscular paralytic drugs such as curare... The psychic driving procedure was a chronological precursor to Cameron's depatterning, involving massive doses of ECT combined with similarly large doses of psychedelic drugs like LSD. The intent was to break down the subject's personality — theoretically psychic driving could then be used with some efficacy in establishing a new personality' (Hanson Records).

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Under his Chemotex alias, Marcos Cabral has been one of The Trilogy Tapes most productive artists in recent times. This is his third 12" for Will Bankhead's imprint in less than 12 months. Unlike Cabral's recent album for L.I.E.S, which reveled in its' own distorted, balls-out intensity, Thulsa strives to get a balance between becalmed techno hypnotism, skuzzy grooves and gently melodious intent. This blend is perhaps most satisfyingly mixed on the industrial-tinged clank of "Delta City", though the woozier, scuffled late night warmth of "Music For Security" pushes it close. Twice he heads towards deeper territory; first on the title track's trance-inducing synthesizer loop groove, and secondly on the dubby, locked-in tech-house majesty of "Lorentz".

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