Harrison BDP
Far Away EP

Fio Fa hops back behind the wheel for Two Of Me, his second turn off Sunset Drifters boulevard. 4 timeless rollers shimmering with hi-NRG magic and prog-y glitz, hybridising vintage house sounds with his signature moods and grooves.Drumcondra’s notorious nocturnal cruiser swerves back into view for the sequel to his inaugural Sunset Drifters’ test drive. This time round, Fio extends his sphere of dance influences to effortlessly absorb just about any era of electronic music into his confident rave-y stride.First stop, SLYCLOPS IS BACK; a fairground ride through 80’s synth-pop glamour. Bass stabs, stadium drum fills and seductive rhythms all shepherded by Fio’s impeccable tech pump and drive. THE DUSTIEST OF THE DUST then speeds into view, an after hours rush of darkened prog menace braised in a kinetic wonderland of rave melodics. LOS MELLIZOS switches lanes, patiently stratifying a tense euphoria around its latin house core. A glorious headbangin’ switch-up then ensues, before thrusting us right back into the dastardly groove again. THE RAT BOSS greets us at our final destination, a brazen stepper meshing dub techno synthetics with a naughty flute line that bounces along its fiendish bass squelch with the wryest of grins.

Berlin based OKMACH3 presents a divers and club-oriented sound. The focus is on releases blending genre conventions and challenging listeners while keeping in mind that the night belongs to lovers and dancers alike. Our rst release is also the solo debut of fnctrl and encapsulates the spirit of OKMACH3 perfectly. His sound merges Electro inuences with a bass-driven four to the oor production and grooves ranging into Trance. It’s an atmospherically dense and dark Sci-Fi trip attended by an AI contemplating the nature of human interaction.

A box of old photographic slides uncovered at a house clearance centre with a £5 asking price. On the slide's a collection of shots from the 60’s–70’s: British rural life plus various trips around Europe and a trip to the US. The lives of Bill, Jean and Edith (and Pippi the budgerigar). The relationship between the three is unclear but they seem to live together—or at least spend a lot of time together—they seem close. They like to travel and garden. What became of these people? Presumably, they have since passed away given their apparent ages in the pictures and the dates scrawled on the slides and boxes. What happened? How did these slides come to be here and were there no family or friends that wanted to claim them?Initially, the discovery feels uncomfortable, intrusive, upsetting even. The lives of these people—whoever they were—were lovingly recorded, only for the resulting documentation to be discovered decades later in a musty, tattered box, buried amongst other people's ex-belongings. It feels sad. Considerations on the transient, the ephemeral. It feels inescapable that—regardless of intention—this is in some way a commentary on the value of a life. On the value of Bill, Jean and Edith's (and Pippi’s) lives. But studying the slides in more detail it is clear that the 3 subjects shared many happy times and experiences. They are always smiling and there appears a sense of genuine camaraderie and affection between them. A passion for photography too.So should we be sad that these lives are seemingly forgotten? That £5 is the asking price for the physical documentation of years of adventures? Or satisfied that the imagery represents lives happily lived and shared. The value of these physical items (ie the slides themselves) is not equal to the value of the actual lived experiences of the subjects or the lesson that Bill, Jean, Edith (and Pippi) can teach us. Realising this provides an invitation to recognise a simple truth: the value of a life is in how it is lived in the moment. Exist and enjoy it—if you can—because in the face of impermanence that’s all we can really do. In the moment neither the beginning nor the end really exist.Petteril (James Gilbert) has been creating audio collages and improvisations with these concepts in mind. The music is not so much about the slides or the people on the slides, (although both the imagery and the music evoke a kind of nostalgia) but concerned with the whole philosophical discourse that ensued. Improvisation (with various instruments, physical, analog and digital) is a key consideration based on the aforementioned theme of being in the moment. Generative elements also represent that transience and the fleeting nature of moments coming and going, flowing from one moment to the next. These evolving beds of sound and improvisations coupled with Tape loops, field recordings and more are chopped, layered and collaged, processed, layered, collaged and processed again.

Electronic Label toward multiple directions and influences.

The sounds of Cleveland seem to grow increasingly abstract with each passing release and a third Kalahari outing is no exception. Manipulating house and techno templates into newly mutated forms, ‘Lola Ran’ is a testament to a producer always playing fast and loose with concepts of genre. It’s possibly his most probing set of productions thus far.Where predecessors came bearing remixes, it's strictly originals for the duration here. ‘Rand’ and ‘PrideBRK’ are direct but decidedly off-kilter; at once modern and faintly retro in their approach to breaks and deep-dwelling techno. ‘Lola Ran’, ‘Mano’ and ’Temp Oro’, on the other hand, shift gear into opiated, rhythmelodic territory. There are no doubt traces of Detroit-style sci-fi but the Brussels-based producer terraforms an alien microcosm unto itself.