Sailing beyond the boundaries of electronic music, Purelink embrace liquidity on their second album, washing live instrumentation and exposed vocals over their patented cascade of dubbed ambience and ebbing rhythmic experimentation. Since 2020, Tommy Paslaski (aka Concave Reflection), Ben Paulson (aka kindtree) and Akeem Asani (aka Millia) have channeled their most euphoric musical whims into the Purelink project. Drifting between brittle '90s drum 'n bass and dub techno on their cult debut 12" 'Bliss / Swivel' and vaporizing Windy City jazz and post-rock motifs with muggy soundscapes on 2023's critically revered first full-length 'Signs', the trio have managed to define a painterly signature sound that's reflective but not reverent. Sure, Purelink's music can be graceful and bucolic, but it's powered by their innate devotion to the dancefloor's soundsystem.

'Faith' illustrates a period of upheaval for the three friends; relocating from Chicago to New York City, they found themselves surrounded by new scenery and fresh inspirations that permeated their compositions as they adapted to the change. On their previous records, the production process was relatively simple, just three laptops jacked into an interface in Paslaski's living room. Here, they augment the intermixed electronics with acoustic and electric timbres, opening up space for vocal contributions from Hyperdub luminary Loraine James and poet Angelina Nonaj. "Always time for rest," James ponders candidly on 'Rookie', "we settle." Her voice floats like smoke over the trio's familiar pattering rhythms and light-headed synths, now enhanced by capsized guitar motifs and subtle bass plucks.

On 'First Iota' meanwhile, Nonaj's deadpan narration grounds Purelink's dissociated echoes, sub swells and delicate improvisations. "Not everything beautiful has to be real," Nonaj repeats as organic and digital sounds sublime into a lysergic haze. And the softly propulsive 4/4 thuds that steered 'Signs' haven't disappeared entirely, either. On 'Kite Scene' a heartbeat-like pulse underpins Purelink's balmy pads and acidic synths, tactfully disrupted by hollow live percussion, and 'Yoke' muffles its chugging, broken beat sequences with swaddled trance hallucinations, gesturing cautiously towards euphoria. Each element falls into place on the album's final track, 'Circle of Dust', when Paslaski, Paulson and Asani find a fertile middle ground, ornamenting the kinetic, reverberating beats with evaporating whispers, evocative instrumental scrapes and hopeful, ecstatic harmonies.

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‘3' saw the core Lifted duo of Max D & Matt Papich unravel their visions of excess into their most divergent and wide-eyed collection to date. Presented here by Peak Oil in a vinyl edition featuring the painting of Jordan Kasey (yes, related to Martin Kasey, saxophonist on 2019’s LP 2) and packaged for a seamless listen.

First scene ‘Chefs’ places us squarely off-center, landing in a cinematic environment that feels a bit like steadycam Luis Bunuel , wine bottle whoo-ing and horn fanfare. Its music without a hard surface, defined more by its fluidity and characters, found sounds and performed dialogue. “Cymbecko” shifts gears into blissful ambient dub, and paves the way for a Luke Stewart led excursion into the uncanny that is ‘Trip Tongue’. Stewart’s upright bass never stops seeking, while Jordan GCZs Rhodes barely touches down before lifting back up into and out of Jacob Long’s (Earthen Sea, Esau) liquid tone sheets. An outside world of percussion accompanies.

The mood morphs and the scene cuts in hard with “Born in the Roof”, slacker techno that grows shimmering parts, Perlon for potheads. Voiceover slacks right with it, a half-convo caught in the billowing chorus of fx. “Macarena” snaps things into focus, working almost like an open window to airing out the heady fog. Simplicity in the vignette.

After “Mecha Perfume & Variety”, “Snow Dancing” reignites the drama, with burning guitar by Jonny Nash taking a plucky and sliding lead over wildly fused drums by Max D, we get a test of new depths for Lifted with the somber and exuberant “Whipped Cream”. Crackling like a radio but with modern propulsion in the form of richly evocative pads courtesy of Motion Graphics, it sounds like a dinner, a space trip, a storyboard, a scene, threaded together in bouncing, oblique ways.

"Bobby V" drops refreshingly, timed like a credit roll and leaving an afterglow that feels more tuned-in than ever.

Players on this album include: Luke Stewart (Irreversible Entanglements, Blacks Myths), Jeremy Hyman, Jonny Nash (Melody As Truth), Jordan GCZ, Matt Papich, Josh Levi, Mezey, Hirama, Dawit Eklund (1432 R), Motion Graphics, Max D, Jacob Long (Earthen Sea, Esau)

Cover painting, "Double Moon" by Jordan Kasey

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Repress!

The core duo of Max D and Matt Papich debut on Peak Oil following full-lengths for Future Times and PAN with a fresh suite of tactile, diffuse fusion. Half the collection emerged from a 2021 session at Tempo House rounded out by Dustin Wong, Mezey, and Jeremy Hyman, while the rest took shape in moments both collaborative and isolated, collaged together with CDJs into something more liquid and liminal than the sum of its parts.

Across fractured jazz, pitch-shifted downtempo, revelatory guitar, and interstitial interplay, Lifted’s sound is one of flux, fragments, and filigree. Oblique harmonic synergies dusted in chance encounters and rogue acoustics. Diverse moods mapped with split strings and the space between notes. Music untethered by form or expectation, snaking like an ungrounded cable through a geodesic dome of deep-listening.

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Continuing his refraction of the rave continuum into pointedly dislocated, delicately bruising sound system meditations, Low End Activist returns to Peak Oil with a second instalment in his Airdrop series. This time around, he channels the ghosts of foundational tech-step and the quantum leaps of late-90s D&B to provide the inspirational fuel for his skeletal, astral constructions. A strong stylistic thread continues to weave through the LEA output from his earlier self-released EPs and Sneaker Social Club albums, where haunted atmospherics, blown out subs and snatches of breaks dart around each other in empty dancehalls, but the finer point of the sound design and synthesis makes very specific references to landmark moments in hardcore's evolution.

By weaving his own autobiography into the music, the Activist maintains a fundamental theme of his work to date. 'Colin's Golf', 'Smithy's Porsche,' 'Merv's Lazy Eye' and 'Brillo's Teeth' are all personal codes harking back to the formative Oxford rave scene. With the framework in place, he uses textures, timbres and studio tricks from scene-leading pioneers and local heroes of the era as ingredients in thoroughly modernist concoctions. None of the reference points are deployed as literal callbacks — they're waymarkers for the creative process and faint triggers bedded deep into Airdrop II's strange formations. Fleeting sonics might trigger latent memories for those who were there. For everyone else, Airdrop II is another step further along rave's eternally unspooling odyssey, guided by decades of precedents on a path into the future.

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As he continues a pointed thread of mutant rave manifestation, Low End Activist makes a double-quick jump back onto Peak Oil to lay out the third instalment in the Airdrop series. Once again focusing on a very specific period within UK rave, this time he's zeroed in on the specific crossover zone between UK garage and grime around 1999-2001. In the Activist's hands, the musical codes of past scenes become half-hidden deep in the sound design, bent to the will of the soundboy as he creates sparse, compelling soundscapes for the faraway dance. Grime has been a consistent presence in his toolkit since the first LEA transmissions in the late 2010s, making the concerted transition into this era a natural one.

The presence of skipping 2-step structures are a distinct pivot that gives Airdrop III its own unique flavour, while the signature LEA icy pads draw from the kind of stark synths rinsed out of Fruity Loops and Korg Tritons when grime was first finding its feet. The ghosts of MCs in full flow dart in and out of the mix, burrowed into the shadowy mix downs and teasing their bars like unfinished conversations. The minimalist arrangements have a Ghost-like pallor, all the better to savour the craftiness of the grooves. The scene-setting is as dramatic as the most evocative outliers in the dubstep canon, but it's matched by sublow's ruff and ready swagger and the nimble hooks of chart-ready garage crossovers. As ever, the concentrated spread of reference points is only half the story — Low End Activist fills in the gaps in his inimitable style. Like all the music he draws on, he's simply metabolising his own musical education and throwing down something new in the process.

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Sailing beyond the boundaries of electronic music, Purelink embrace liquidity on their second album, washing live instrumentation and exposed vocals over their patented cascade of dubbed ambience and ebbing rhythmic experimentation. Since 2020, Tommy Paslaski (aka Concave Reflection), Ben Paulson (aka kindtree) and Akeem Asani (aka Millia) have channeled their most euphoric musical whims into the Purelink project. Drifting between brittle '90s drum 'n bass and dub techno on their cult debut 12" 'Bliss / Swivel' and vaporizing Windy City jazz and post-rock motifs with muggy soundscapes on 2023's critically revered first full-length 'Signs', the trio have managed to define a painterly signature sound that's reflective but not reverent. Sure, Purelink's music can be graceful and bucolic, but it's powered by their innate devotion to the dancefloor's soundsystem.

'Faith' illustrates a period of upheaval for the three friends; relocating from Chicago to New York City, they found themselves surrounded by new scenery and fresh inspirations that permeated their compositions as they adapted to the change. On their previous records, the production process was relatively simple, just three laptops jacked into an interface in Paslaski's living room. Here, they augment the intermixed electronics with acoustic and electric timbres, opening up space for vocal contributions from Hyperdub luminary Loraine James and poet Angelina Nonaj. "Always time for rest," James ponders candidly on 'Rookie', "we settle." Her voice floats like smoke over the trio's familiar pattering rhythms and light-headed synths, now enhanced by capsized guitar motifs and subtle bass plucks.

On 'First Iota' meanwhile, Nonaj's deadpan narration grounds Purelink's dissociated echoes, sub swells and delicate improvisations. "Not everything beautiful has to be real," Nonaj repeats as organic and digital sounds sublime into a lysergic haze. And the softly propulsive 4/4 thuds that steered 'Signs' haven't disappeared entirely, either. On 'Kite Scene' a heartbeat-like pulse underpins Purelink's balmy pads and acidic synths, tactfully disrupted by hollow live percussion, and 'Yoke' muffles its chugging, broken beat sequences with swaddled trance hallucinations, gesturing cautiously towards euphoria. Each element falls into place on the album's final track, 'Circle of Dust', when Paslaski, Paulson and Asani find a fertile middle ground, ornamenting the kinetic, reverberating beats with evaporating whispers, evocative instrumental scrapes and hopeful, ecstatic harmonies.

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Peak Oil is proud to issue another slab of shattered fractals of dank and decomposed genre from the gifted deconstructionist duo that is Wrecked Lightship.

"Drained Strands" picks up almost immediately where their first installment left off, the listener is hurled immediately into the dubbed out, breaks-scattered, bass billowing, shrewdly sculpted world only capable from the unique visage of Adam Winchester and Laurie Osborne.

Spread across six scintillating tracks - Wrecked Lightship further their post-historic, studio-as-a-black-cauldron vantage point in a compelling and visionary way only these two can conjure.

Artwork once again stems from Brian Close - providing a similarly singular visual language to their auditory visions.

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Restock

The latest by New York-based producer Lamin Fofana further refines his cinematic dialect of fractured soundscapes, displaced rhythms, and tectonic unease. Unsettling scores aptly describes itself: grainy, bristling, and bruised, rippling with dread disguised as grandeur. The collection emerged from an extended reworking of his 2016 composition, “A Symbol of the Withdrawn God,” mining deeper into the piece’s “unvoiced fragments, shards, and utterances.” Other tracks were inspired by recent readings on climate emergency and its “specific implications for Black life, from hurricanes in the Caribbean to mudslides in West Africa.”

Fofana has spoken of his music as part of a “legacy of resistance,” spanning the roots of Detroit techno to the outer reaches of contemporary sound art as championed by his labels, Sci-Fi & Fantasy and Black Studies. His work here vividly embodies that spirit, seven hyper-textural transmissions of rumbling lament, shifting sands, and restless innovation, tracing jagged silhouettes of indeterminate futures: “The instability is worldwide.”

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2024 repress with original artwork.

The original version of this gorgeous schlager techno track, released in august 2001 on Kompakt's Total 3, would put a smile on a lot of people's faces. Apart from the reworked original version, you'll get two sensational remixes: The one from Frankfurt's high-aesthete, super hipster, club- and label-owner with a three-letter name: Ata. Since the very beginning, his Playhouse label has always been a guarantee for finest German House music. It's his first (!) remix ever and his first studio work since the legendary first Playhouse release 'Holy Garage' in 1993. The 'Playhouse Mix' turns the original version into a mega-hip, late-night monster and reminds a bit of the great Larry Levan and Metro Area's congenious adaption of early-80s disco music. The 'Robert Johnson' club is going down on its knees. Wonderful. The other remix comes from one of Kompakt's in-house pioneers of pop ambient: it's Olaf Dettinger. Who didn't want to miss this chance and has interrupted his creative pause only for doing this wonderful 'Moonlight Mix'. Dettinger's cosy hi-tech sounds and Sonja Luebke's seraphic voice, both singing a duet to the moon. Very, very beautiful, indeed.

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Repress!

In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.

What the press said about Loop-Finding-Jazz-Records:

“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)

“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)

“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)

“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)

“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)

“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)

“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)

“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)

“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)

PS:

“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth)

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Repress coming beginning of February.

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Reissue of the classic.

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In late 2013 I was trying to take a disconap before djing a New Years party in Glasgow. All I could think about was finally getting in touch with Ata Kak. I decided to book a oneway flight to Toronto and I was not going to leave until I found some family contacts. It turned out Yaw's son Jeffrey still lives there and we had this incredible meeting in a townhouse complex on the edge of town.

I couldn't believe it when I finally spoke with Yaw and explained to him how well-loved his music had become. ATFA the label had been operating for several years by then but the tape that really started the whole thing couldn't get reissued. Once we got in touch all the complexities of how to actually do that came into focus.?It always irked me that our reissue of Obaa Sima didn't sound excellent. Nevertheless, it has a sonic charm that endures. Obaa Sima was a kind of manifesto for the whole Awesome Tapes From Arica blog project when it started. That sound and approach embodied something I wanted to further explore.

After years of enjoying his music, it was thrilling to finally meet Yaw and hear his story. I wanted to let everyone hear the music in the highest resolution possible but we couldn't make it happen.?In early 2024, by some cosmic coincidence, I made a new friend in my Berlin neighborhood who causally introduced himself by saying, "I have a clean copy of Obaa Sima, you can have it if you want." Not just wildly kind but also serendipitous as we reach the 10th year since the cassette's reissue.?

This new remaster, lovingly rendered from an almost impeccable source, is a revelation for anyone who wished to hear more of how this music was meant to sound. Our longtime collaborator Jessica Thompson carefully restored it with updated tools in her state-of-the-art studio.?

Over the past 15 years or so, as I DJ these Ata Kak songs at almost every show, I still feel a sense of wonder upon listening. You can go deep into the crevices of the very audible audio artefacts and hear a lot. Maybe it's a little sad to part ways with the wows and flutters whose contours I'd grown to know like the back of my hand.?When I visited Yaw in Kumasi a few years ago for a documentary shoot, it was shocking to learn that his brother had actually sold quite a few copies of the tape. As we moved through Kejetia market one day we encountered a handful of folks who remembered hearing Obaa Sima back around its release in 1994. More recently, thanks to a few Ghanaian-made viral TikToks, I've learned how many people of a certain age heard these songs as staples at funerals and other local dance parties. The music reached a lot more people despite what Yaw had reported. ?

I was also surprised to learn that the album was originally recorded at a slower speed—we have included a slow version download here.?In the years since, the concerts that Ata Kak has performed have been one of the absolute joys of my life to experience. It couldn't have been achieved without the intense dedication of Ata Kak's booking agents at the time QuJunktions and his London-based bandmates, including Esa Williams, Pax Nindi, Binisa Bonner and Tim Tapsell. Hearing Obaa Sima live is astounding and thousands of people all over the world have been there too.?

—Brian Shimkovitz, Berlin 2025

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DJ Support: Peggy Gou, Prospa, Special Request, Annie Mac, DJ Seinfeld, Kolsch.

Pink Vinyl Limited Pressing

One of the biggest, breakbeat channelling stompers out there, courtesy of the in-demand duo Borai and Denham Audio, finally gets an official release with three fiery remixes via Room Two Records. A track that’s ripped through airwaves and club dancefloors alike, ‘Make Me’ has all the hallmarks of a future classic. Doused in Amen breaks, rattling subs, rave stabs and an instantly recognizable mid ‘80s Donna Allen sample. Together the track feels like a long forgotten rave anthem from the ‘90s with its mix of high intensity breaks and soulful vocals.

With the original sample cleared, three producers step up to remix this undeniable anthem. First Sheffield’s Big Ang with her Rave To The Grave remix, playing homage to her hometown with a bassline and bleep flavoured rework. Mani Festo then hits hyperspace with his glitched out, jungle warper, before Paul Sirrell closes out proceedings serving up a huge slice of piano house heat

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Plastik People keep it deep once more with a new outing of their ongoing Collections series. There is plenty of ol' school nostalgia in the opening cut, Ricky Montanari's 'Back To Love', with its US garage snares and dusty piano stabs making for a great mix of drive and soul. There's a pared-back dub version too plus an amped up and sweaty Dave Charlesworth dub of Aurora B's 'Good Love.' Last of all is the hurried and soulful house whomp of 'Hard Times' (original 96 mix). Four very useful jams.

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- Spec: 2 x LP in paper inners, in 5mm outer sleeve with download card insert.

Tucked away in the great depths of the Warp catalogue is this elegant, liquid heartache of a record. An album credited to the late James Stinson, one half of cult-Detroit techno unit (alongside Gerald Donald) Drexciya, Lifestyles... stands as one of the remarkable records of the genre. Stinson died a year after release, lending this already beautiful work endless resonance.
Where the dystopian aqua-tronics of previous Drexciya were often jet-black, cold, brittle and abrasive this is a yearning soul music, played out down rain soaked streets, the buzzing lights of industry flickering in the darkness, the warm blue of a new day ready to break. This is a record where techno reached its raw, most emotive peak... Sustained pads paint minor-key melodies while electroid-vocals are buried deep in the hydrothermal mass of squelching bass-clusters and funky-filtered bleeps. At its skittering percussion core, a stripped back 808 tapestry, sequenced into myriad jazz-inflected shapes, a pulsing kick drum the snapping heartbeat, ticking hi-hats bursting from every angle.

All this tingles with the ghosts of records past, of Kraftwerkian humanoids, of first-wave Detroit, of refracted Hancock and Ayres, but as Stinson intones on the fifth track, ‘let me be what I wanna be’, Lifestyles is a creation all of its own special making, a sound that would inspire the latter day deep-house machinations of Omar S, Jus-Ed, Moodymann and influence –however indirectly- a wealth of current UK/US bass operators including Actress and Kyle Hall. More importantly it remains a beguiling epitaph to Stinson’s sadly distinguished life.

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NoLand sounds like a story already experienced. A series of lyrical landscapes infused with deviant pop sonorities.
In the second album on Knekelhuis, Reymour gives us the keys to three years of life's passages through mist and clearings, delving deep into their innermost selves and emotions.
By merging new inspirations with new encounters, they weave and unravel their tale.

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Tracklisting
A1 Seigg - Furious Loop
A2 DJ Swisherman - Tell Em
B1 Zisko - Amnesia
B2 Vromo - Burn Up
B3 Dj Swisherman - Best Shot

Sales Note
- 2025 repress -

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