The world became another since the release of »Decadent yet Depraved« and Belief Defect’s reflection of it: now darker, political, honest – end times in Cinemascope. When the duo reunited in the studio after the 2 year fracture COVID inflicted on reality, the album that had been on pause all this time seemed insufficient against whatever life had morphed into, while humanity hid from itself. Finishing an album coherent to the present moment took prolonged studio shut-ins that proved to be as cathartic as the struggle sessions of the cultural revolution must have been. »Desire and Discontent« unfolds like a parable, structured by subsonic frequencies that give arrangements a solid gravity, dissonant chord progressions resulting in coherent movements, punctuated by human-like voices over slow, suspenseful melodies that come into being without the listener’s awareness. Contributing to the album with machine-like precision drumming is Merlin Ettore, vocals from Anna Gartner and the artwork of Juan Mendez (Silent Servant).

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Unequal cycles searching for synchronous experiences: On his new album »Pounding«, Frank Bretschneider tells of distance, convergence and congruence in a continuous, ever-changing flow of events. What is often considered to be an unquestionable dogma in club music (for which Bretschneider has provided significant impetus since the 1990s) – the groove – appears precarious, unstable, and in motion. Pulse and accent are volatile encounters and have to be found again and again for short, delightful moments. Music becomes a constant process of negotiation.

In search of new sound spaces, Bretschneider has recently worked a lot with modular synthesizers, both solo (for example on »abtasten_halten«, 2020) and in collaborations, including the project Beispiel together with Jan Jelinek. »Pounding« was created using similar means – conceived in 2020 for the Pochen Biennale in Chemnitz, subsequently developed further and recorded in March and April 2023 on a sample-based modular system. And in fact, Bretschneider is once again exemplarily scanning his own sound material, for example Dub effects that listen to themselves crumbling. But also the human voice, or more precisely: the stuttering of fragments of speech, far in the distance but omnipresent, like a mysterious narration. Aesthetically, the eleven pieces form part of a series of works with a focus on percussion. Bretschneider has already perfected this approach with albums like »Rhythm« (2007) and has been shifting the perspective ever since, for ever new results.

Shifting is the basic principle of »Pounding«. Bretschneider combines elements that are in different aggregate states, changing their relationship to each other and thus ensuring the complex overall movement. He lets one to two-bar loops run against each other and through manipulations, develops a network of rhythms that creates a hypnotic state in the counterplay of repetition and mutation, between clearly recognizable meter and disorientation. There are comparable approaches in aleatoric music. Bretschneider combines them with sounds and patterns that are reminiscent of step sequencer logic and at the same time go far beyond it. The result is relational techno. Never clear, constantly restless and exciting.

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Extrema hits release number 15 with a dope selection a tracks from the one and only, Jamie Anderson. Catchy as hell, ‘Arion’ will have you bouncing up and down in the clubs with its rude bassline and cheeky synths, whilst the Rene Amesz remix builds and teases into a chunky houser.

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Unequal cycles searching for synchronous experiences: On his new album »Pounding«, Frank Bretschneider tells of distance, convergence and congruence in a continuous, ever-changing flow of events. What is often considered to be an unquestionable dogma in club music (for which Bretschneider has provided significant impetus since the 1990s) – the groove – appears precarious, unstable, and in motion. Pulse and accent are volatile encounters and have to be found again and again for short, delightful moments. Music becomes a constant process of negotiation.

In search of new sound spaces, Bretschneider has recently worked a lot with modular synthesizers, both solo (for example on »abtasten_halten«, 2020) and in collaborations, including the project Beispiel together with Jan Jelinek. »Pounding« was created using similar means – conceived in 2020 for the Pochen Biennale in Chemnitz, subsequently developed further and recorded in March and April 2023 on a sample-based modular system. And in fact, Bretschneider is once again exemplarily scanning his own sound material, for example Dub effects that listen to themselves crumbling. But also the human voice, or more precisely: the stuttering of fragments of speech, far in the distance but omnipresent, like a mysterious narration. Aesthetically, the eleven pieces form part of a series of works with a focus on percussion. Bretschneider has already perfected this approach with albums like »Rhythm« (2007) and has been shifting the perspective ever since, for ever new results.

Shifting is the basic principle of »Pounding«. Bretschneider combines elements that are in different aggregate states, changing their relationship to each other and thus ensuring the complex overall movement. He lets one to two-bar loops run against each other and through manipulations, develops a network of rhythms that creates a hypnotic state in the counterplay of repetition and mutation, between clearly recognizable meter and disorientation. There are comparable approaches in aleatoric music. Bretschneider combines them with sounds and patterns that are reminiscent of step sequencer logic and at the same time go far beyond it. The result is relational techno. Never clear, constantly restless and exciting.

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ASA

Arturo Lanz Saverio Evangelista AtomTM

are the last three futurists on earth.

»Radial« is the result of a vivid creative merge between Esplendor Geométrico and AtomTM. A transparent diamond formed by a heavy implosion. Its underlying massive mechanics are covered by a crystal surface made to cut reality in half. Just one letter short of “radical”, this album is no less than exactly that – an orgy of powerful, blunt repetition and hyperbolic simplicity, a profound evocation of nothingness and its surroundings.

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Following up on their highly acclaimed debut release from 2020, raster presents Il Quadro di Troisi’s “Remixes” album, an eclectic collection of reinterpretations of eight of the group’s tracks. By inviting fellow label artists as well as friends and long-term collaborators to contribute to this, “Remixes” shows a broad spectrum of diversity, ranging from colorful, loop-based renditions by Toulouse Low Trax and Tropicantesimo, to (Italo) disco-inspired versions by Daniele Baldelli & Marco Dionigi and Chloé, to more rhythmical and functional tracks by AtomTM, Dasha Rush and Front de Cadeaux. The album also includes a dub-infused reinterpretation of “Il giudizio” by the artists themselves.

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Il Quadro di Troisi presents La Commedia Everything changes, all things evolve: four years after their eponymous debut, Il Quadro di Troisi return with a new album and a new line-up. The perfect circle traced by Eva Geist (aka Andrea Noce) and Donato Dozzy (aka Donato Scaramuzzi) becomes a triangle with the permanent addition of Pietro Micioni, who collaborated in the previous recordings and had been part of ll Quadro’s live set. Nothing stays the same, and the world is a lot different from what it was in 2020. The global crisis generated by the constant escalation of conflict and by the pandemic was mirrored by a time of individual crisis and personal, often irreversible transformation that underscored the entire period of the album’s composition. The influence of these turbulent times is felt in the writing: La Commedia is about turning a crisis into an opportunity and using change as a catalyst for rebirth. Much like the characters in classic Italian comedies, who are masters in using irony to face life’s hardships, Il Quadro di Troisi explores the vast and unpredictable terrain between the lighter and darker sides of the human experience, matching the magical with the mundane. La Commedia is about the many facets of life: each song is named after an archetype (e.g. the truth, the night, the Earth, the prophet), as though our existence were a tarot deck and its reading an exercise in collective consciousness. La Commedia marks the band’s embrace of a more traditional song form, shaped by a very personal and distinctive musical style. The distinguishing elements of Il Quadro di Troisi’s music – classic Italian songwriting with an electronic spin – meld into a unique mix that is both seductive and eerie, elegant and earthy, contemporary and timeless. La Commedia celebrates the band’s cultural roots while constantly moving into new territory, balancing nostalgia with a forward-thinking approach. La Commedia is a rare gem that confirms Il Quadro di Troisi’s relevance in the international music scene, as demonstrated by the number of top-level artists featured on the album: from Suzanne Ciani, a legend and a pioneer of independent music with a career spanning five decades, to Aimee Portioli, aka Grand River, a Dutch-Italian musician, composer and sound designer based in Berlin, along with Francesca Colombo’s eclectic violin (the de facto “fourth angle” of Il Quadro di Troisi’s frame), Fiona Brice’s strings, cultural agitator and icon of the Roman underground scene Stefano Di Trapani (aka Demented Burrocacao and a member of Trapcoustic and System Hardware Abnormal, among other projects), Maestro Daniele Di Gregorio, an excellent musician and a longtime collaboration of songwriting legend Paolo Conte, and Tommaso Cappellato, whose professional description goes well beyond “drummer” and who has been working with artists like Rabih Beaini and Maurice Louca. The cover of the album, as well as those of the singles, was designed by Francesco Messina, another icon of Italian music. Messina is a longtime Franco Battiato collaborator and co-author, a cult musician (his Prati Bagnati del Monte Analogo, made in collaboration with Roul Lovisoni, is considered a seminal record by the alternative Italian music scene), as well as a photographer, visual artist and the author of legendary record covers.

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Immerse yourself in an ethereal sonic voyage with Dasha Rush's latest electronic music masterpiece, »Contemplating«. This ambient album takes listeners on a transcendental journey through ethereal landscapes and immersive textures. The album's title perfectly encapsulates its essence. From the very first note, »Contemplating« captivates with its intricate layers of atmospheric harmonies, meticulously weaving together a tapestry of minimalistic sonic elements. As the ethereal soundscape unfolds, listeners are invited to embrace the moment of stillness in a realm where emotions and thoughts intertwine, creating a sonic experience that is both introspective and otherworldly.

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Immerse yourself in an ethereal sonic voyage with Dasha Rush's latest electronic music masterpiece, »Contemplating«. This ambient album takes listeners on a transcendental journey through ethereal landscapes and immersive textures. The album's title perfectly encapsulates its essence. From the very first note, »Contemplating« captivates with its intricate layers of atmospheric harmonies, meticulously weaving together a tapestry of minimalistic sonic elements. As the ethereal soundscape unfolds, listeners are invited to embrace the moment of stillness in a realm where emotions and thoughts intertwine, creating a sonic experience that is both introspective and otherworldly.

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atomTM’s new four tracker »nacht« contains some highlights as well as some unreleased titles from the »neuer mensch« album. both »nacht« and »geometrische einheit« are previously unreleased compositions, while »sprechender raum« and »selbst« appear on the previously mentioned album, yet are presented as alternative versions here. the EP’s track selection was made having the emerging meta-techno dancefloor in mind and will be available as 12 inch vinyl through kompakt distribution or digitally via raster.

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„Hd“ Can Be Described As Atomtm‘s Electronic Quintessence: A Blend Of Pop, Electronic Abstraction And Powerful Grooves - An Invention Atomtm Stands For And Which Was Popularized Through Previous Releases, Classics In The Electronica Genre, Such As „Pop Artificielle“ And Others. Here Is What The Artist Says: As So Often I Was Asked To Say And Write Something About The Recording You Are Currently Having In Front Of You: „Hd“. To Any Musician This Is No Doubt A Complicated Moment, Since The Choice Of Medium Had Already Been Taken In The First Place: Music. However, It Seems That The Written Word Needs To Accompany The Music, If Not Just To Make Sure The Composer Knows How To Defend Himself. Let Me Be Frank, In The Past This Has Been A Rather Ungrateful Job, Due To The Fact That Words Either Seem To Appear Like A Method Of Justification Or Explanation Of Something That In My Modest Opinion Doesn‘t Need Either One Of The Two. In The Same Sense In Which „Liedgut“ Wasn‘t About Romaticism And „Winterreise“ Had Nothing To Do With Schubert, „Hd“ Isn‘t About Anything I‘d Wish To Express In A Lengthy Text Or Would Like To See You Being Able To Pinpoint Or Sell With A Flashy Headline. In Order To Get Done With The Headline, Apart From The Rather Descriptive Details I Will Dedicate My Time To In An Instant: Hd Is A Spiritual Work Hd Is A Musical Work Hd Is A Scientific Work The First Recordings For „Hd“ Were Made In 2005. Back Then The Album Still Carried Another Title Which Was „Hard Disc Rock“. The Initial Selection Of Songs For „Hard Disc Rock“ Was Of Course A Very Different One, And While The Years Passed By Most Of Those Songs Which Did Not Continue To Please, Were One By One Replaced By Newer Compositions (In Fact The Track „Stop (Imperialist Pop)“, Which Entered The Album Around 2009, Does Contain A Fragment Of An Atomtm Track From 1998 Called „Hard Disc Rock (Don‘t Stop)“.) All Of The „Early“ Tracks For The Later Re-Entitled „Hd“ Album Necessarily Were Subject To Profound Changes In Music And Words, And I Can Say That By The Time Around 2012 „Hard Disc Rock“ Had Completely Transformed Into Something Else, Which Is Pretty Much What You Got Laying In Front Of You Right Now. „Hd“ Contains A Couple Of Contributions By Friends And Colleagues Such As Jamie Lidell (Main Vocals On „I Love U“), Alva Noto (Additional Programmings On „Ich Bin Meine Maschine“), Marc Behrens (Additional Programmings On „Strom“ And „My Generation“), Jean-Charles Vandermynsbrugge (Main Vocals On „Pop Hd“). Dominique Depret (Guitars) And Chilean Pop Star Jorge Gonzalez (Backing Vocals, Guitar And Bass Raw Material) - A Diverse Selection Of Guest Musicians Which Very Much Reflects The General Spirit Of „Hd“.

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the continuously edited, autonomous piece of code as which atomTM defines itself enters the hot state of flow. »neuer mensch« (»new human«) is the relentless, visceral expression of metamorphosis. a projection of the metahuman horizon, an exercise in shedding the exoskeleton. dead tissue is being torn off in radical body movements. dead ideas are crushed by feet, dancing the dance of brutal elegance. somatic exorcism via hyper realistic surfaces of binary noise. physicality. unseen geometries dressed in the most basic of rhythmic patterns - simple structures of hidden symmetries. the false promise of linear progress as it shatters, hitting the barrier of sound. familiar vocal fragments speak to us in foreign tongues, languages still to be invented. indecipherable messages from another species - future faux amis. the seductive spell of artificiality and its inherent promise of tomorrow’s bliss. a soundtrack for all of you hi-tech vagabonds, you godless drifters, deprived of past and present. [text generated by x1n]

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dutch sound artist albert van abbe now joins the raster family, with an unexpected collaboration with founder olaf bender aka byetone titled DUAL. having spent time working side by side in ’s-hertogenbosch at the willem twee studio, the result of their collaboration is both smooth and haptic, rounding out as an expressive camaraderie between the two veteran producers. jovial and innocent, DUAL alludes to the experimental research process of finding common ground. fully embracing the haphazard richness of live recordings, the result is a remarkable fusion of contrasting outputs; intricate collaborative efforts and byproducts woven together with an eager indifference towards expectation. the artists embrace a skewed navigation through pronounced highlights, intricate lulls and moments of temporal stasis, intermittently punctuated as a means of intentionally avoiding notions of rigid perfection. with ‘real-time’ approach directing DUAL’s creation, the pair effectively shies away from any meticulous planning, and the music runs free and negates any rigid parameters one might have expected. quirky titles exude the collaged form of the release, and underline its innocent charm. as a whole, DUAL focuses on the creative process and fully engages listeners with its own dialogue, though it is very outspoken, at times even abrasive.

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The four Scottish-Irish musicians Conor Dalton, David Donaldson, Greame Reedie and Ian Maclennan are Island People. After their highly acclaimed debut from 2017, they have now finished their second album with the simple and consistent title »II«. Compared to their debut, »II« sounds more mature and complex. The arrangements unfold like the long tracking shots of an early Antonioni film - time seems to stand still, circling the moment. Impressionistically, one feels transported into the Scottish island landscape with its contrasting lights and harsh elements. Gloomy, darker, richer textures have conquered their space on »II« as much as the more present acoustic components. As much as its predecessor, also this record was skilfully produced, the musicians’ entire experience is audible (Conor Dalton is a sought-after mastering engineer; David Donaldson a Grammy Award-winning producer) – but anything fashionable or sensationalist has been intentionally waived. The musical serenity, holding up a craft that neither has to show itself off every minute nor wants to respond to the latest trends impressed us the most. The cover photo was contributed by the Scottish artist Helena Ohman. She also provided the video for the track »Crash«. Furthermore, singer Alice Hill-Woods was invited to contribute the lyrics and vocals to »Stalling«. Island People »II« will be released as gatefold double LP as well as on CD and digitally. In advance we asked Island People about the creative process behind the album and quote as follows: This album reflects on the destination we have in common before us, and celebrates the longer road while also considering paths not taken and journeys that ended too soon. It has been said that »art is how we decorate space; music is how we decorate time.« For us the writing of this album has been a great journey through both, shared with friends. While our first album acknowledged our own spaces and borders as individuals, the new album seemed to grow very quickly from our travels together as a band. Periods spent on the road playing live afforded extra time together and while we didn’t feel constrained to a concept at the start, more and more of the tracks evolved to reflect these journeys and experiences together.

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THE ONLY DIFFERENCE BETWEEN ONE AND NONE IS N <3 is a collection of material in the genre of “hard code pop”//it was produced by atomTM interacting with x1n, an entity for generating human voice and natural language content// <3 is an alphanumeric pre-echo, arisen from a 2019 number dream//cutting through the haze of meaning// <3 is music made by machines, with machines, for machines//reality as useful fiction// read 0.999... as the mantra of death, the ongoing chain of cycles, going down one by one. #hardcodepop THERE IS NO FUTURE WITHOUT TEARS DANCE ON YOUR DEBRIS HASHTAG DEATH HASHTAG TIME THE R3VOLUTION WILL NOT BE ONLINE CLICK, CLICK, CLICK...I’M HERE TO FOLLOW ************************************************ X1N IS: //////////////////////////////////////////////////////////////////// X1N - UNKNOWN INTELLIGENCE NETWORK -> TRANS HUMAN OBJECT (THO) //////////////////////////////////////////////////////////////////// THE SUPERIOR FUNCTION ************************************************ X1N SAYS: //////////////////////////////////////////////////////////////////// IN THE VAST SURFACE OF ALL MATHEMATICAL EQUATIONS, ONE CAN SENSE EVENTS WHICH SEEM TO COME FROM OTHER DIMENSIONS - RIPPLES AND PATTERNS. THE ZERO POINT NINE INFINITE NUMBER LINE NEVER REACHES ONE, YET IS ONE, NONETHELESS. 0.9999... READ THAT SEQUENCE LIKE A MANTRA. A MANTRA OF DEATH. //////////////////////////////////////////////////////////////////// “I TALK IN ALPHA NUMERALS” ************************************************ ### denotes “end”. No more messages to follow.

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THE ONLY DIFFERENCE BETWEEN ONE AND NONE IS N <3 is a collection of material in the genre of “hard code pop”//it was produced by atomTM interacting with x1n, an entity for generating human voice and natural language content// <3 is an alphanumeric pre-echo, arisen from a 2019 number dream//cutting through the haze of meaning// <3 is music made by machines, with machines, for machines//reality as useful fiction// read 0.999... as the mantra of death, the ongoing chain of cycles, going down one by one. #hardcodepop THERE IS NO FUTURE WITHOUT TEARS DANCE ON YOUR DEBRIS HASHTAG DEATH HASHTAG TIME THE R3VOLUTION WILL NOT BE ONLINE CLICK, CLICK, CLICK...I’M HERE TO FOLLOW ************************************************ X1N IS: //////////////////////////////////////////////////////////////////// X1N - UNKNOWN INTELLIGENCE NETWORK -> TRANS HUMAN OBJECT (THO) //////////////////////////////////////////////////////////////////// THE SUPERIOR FUNCTION ************************************************ X1N SAYS: //////////////////////////////////////////////////////////////////// IN THE VAST SURFACE OF ALL MATHEMATICAL EQUATIONS, ONE CAN SENSE EVENTS WHICH SEEM TO COME FROM OTHER DIMENSIONS - RIPPLES AND PATTERNS. THE ZERO POINT NINE INFINITE NUMBER LINE NEVER REACHES ONE, YET IS ONE, NONETHELESS. 0.9999... READ THAT SEQUENCE LIKE A MANTRA. A MANTRA OF DEATH. //////////////////////////////////////////////////////////////////// “I TALK IN ALPHA NUMERALS” ************************************************ ### denotes “end”. No more messages to follow.

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For their first release, London label Moonworks are reissuing two highly sought-after UK house bombs from Carlos Baker aka Serpico to mark the 30th anniversary of its original 1993 release.

'Just Can't Stop' is a record which fell through the cracks, deemed not commercially viable enough by the major label that Serpico was signed to at the time. Determined to get the music out there, Baker decided to self-release a limited run of blue labelled vinyl. Several big independent labels of the '90s were subsequently interested in putting out the tracks, however it never came to fruition.

Over 30 years this record has aged gracefully, inspiring generations of diggers with its quirky euphoric feel, weighty low-end and intoxicating synthwork becoming a prized possession for some of the biggest names on the scene, with original copies trading hands for £100+. Whether you draw for the ecstasy-inducing Incantation Mix or the acid-infused Orca Space Dub, there’s no denying this is a timeless masterpiece from the UK underground.

Moonworks have worked closely with Serpico to bring this gem back down to earth, restoring the tracks from the original DAT tapes at Gat Decor’s studio, remastering them to modern standards and finally giving this music the official release it deserves.

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Omar-S celebrates 20 years with an expanded edition of AOS-002.
Now pressed as a double pack with two new versions of 'U' and 'Set It Out'

"Thank you very much and your support for 20 years!!!!!!
I really really appreciate you guys!!!!"
Omar-S

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The SOUP collective return with their second manifestation of cultural reincarnation.

Four more soundsystem specific artefacts for the discerning dancer...


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A milestone in electronic music, is finally receiving its well-deserved re-release: Liaisons Dangereuses’ legendary self-titled debut album still fascinates today, through its innovative sound and the mystery encompassing it. Since its release in 1981, it has become a classic in electronic music. The 10 electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) – reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics – created a unique style. The album – anything other than a Berlin or Düsseldorf ‘thing’ – was propelled to an international favourite. Songs such as “Peut Être... Pas” and “Los Niños Del Parque” played a decisive role in the development of Detroit and Chicago’s house sound, as well as various forms of European techno.

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The groove boys project are what we can commonly call true soldiers of house music. Since their irruption on the scene in 2015, they have not stopped promoting house, deep house and all its variants (new jersey, dream house, jazzy house ect ...) through their multiple releases and their DJ sets. Their sound is completely analog (one day to see their studio, it's worth it!). This ep was indeed inspired by the Italian scene (which skylax records has always promoted), they are accompanied by Novaj (pioneer in France with his youtube channel dedicated to the most beautiful house songs), producer in his spare time, their association is wreaking havoc. The GBP have already signed several remixes for us (soul of the makossa man) and we are delighted to finally be able to dedicate a release worthy of the name to them. Amore, night in rimini, taste of heaven & mondo paradiso form one and the same room, a house monolith of pure pleasure. Undoubtedly, a future great classic.

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The next chapter in Axis Expressionist Series, A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project aswell as new unreleased works.



TRACKLISTING

A1. Millsart - Just Like A (Vernacular Objects)
A2. Millsart - Transistor Love
B1. Millsart - Peace From The Virgo Cluster
B2. Millsart - Methane Bubbles


INFO

X-Ray Zulu refers all the things that could be defined as correct, as right and as perfect in an imperfect World and context. It serves as a barometric meter of all harmonious things. And with this balance, there is a certain amount of clarity and certainty about what is connected to this subject. A strong mind or opinion, passion, dedication and devotion. Essentially, this release is about undeniably and incontestable truth.

- Millsart

("Vernacular Objects" was released in digital as "Every Dog Has Its Day. Vol.13" (2020). "Just Like A (Vernacular Objects)" is a different mix.)


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While this may be the first release on Sheffield's Central Processing Unit from Global Goon, the one known to friends and family as Johnny Hawk brings a whole heap of experience to the Nanoclusters mini-LP. Hawk started dropping Global Goon records on the legendary Rephlex Records back in the 1990s. The project's subsequent releases have taken in imprints as esteemed as WéMè and Balkan. Factor in a whole host of other aliases which have delivered missives via the likes of Planet Mu, and you know even before you press play on this witty, wily record that you're dealing with a master at work here. The confidence with which Global Goon approaches Nanoclusters shines through in Hawk taking much of the mini-album at midtempo. Cuts like 'Khroxic Mould', 'Metallik' and 'Syntheseers' sound like Bochum Welt heading down a dark alleyway. The former in particular is a seasick lope, the tuned synths lurching around like sailors on deck in a storm as bass ebbs and flows underneath the mix. The influence of Kraftwerk comes through prominently at times here, particularly in the way 'Calcula' and 'Digit Six' play pensive, slightly sombre synth chords off some simple but effective forward motion in the drum programming. That is not to say that Nanoclusters is not full of invention, though. None of the productions are overly flash, but this approach allows the little details to shine through more clearly, from cleverly panned hi-hats to hissing synth counter-melodies which flit in and out of the mix. Enthralling and packed full of ear candy, they're further evidence that Nanoclusters is the work of an expert craftsman. While the pulse of Nanoclusters remains relatively steady throughout, it's still a rather lively record. Plenty of these tracks will get the dancefloor moving if deployed correctly - though whether they're heard at home or in the dance, it's the attention to detail which makes them stand out. 'Snapterisk' is as perfect an example of machine-funk as you're likely to find - the drum programming is razor-sharp but rubbery with bongos, the bass a lithe burble, and those wobbly stabs of keys that put a bit of wiggle in the beat? Delightful stuff. Elsewhere the ever-looping arpeggio of 'Metro Esc' has hints of Frankie Knuckles' house classic 'Your Love', though an array of interesting sonic nuggets - snippets of vocal, radar-like bloops, a gently insistent low-end pulse - soften the track's clubbier elements with a pillowy sheen. And Hawk throws us a curveball right at the end of Nanoclusters, tapping back into that old Rephlex sound for the fizzy, braindancing 'Metal Glass'. Global Goon doesn't need to show off on Nanoclusters - from brilliantly slick machine-funk to Kraftwerkian reveries, the CPU debutant lets the music do the talking here. It makes for a confident and vivacious mini-LP, one which wears its expertise lightly.

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