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DJ Koze: Amygdala Remixes #2

It could be fair to say that both remixes do not represent the artists at their most sparkling individually, but they work their way into your consciousness over time.

Efdemin: Decay

Sollmann has neither changed his principles nor broken the continuity of his body of work with this album. Overall, it feels like a bifurcation. A necessary one.

Fort Romeau: Her Dream

From a conceptual standpoint, the material works to induce the familiar sensation one might experience when awaking from a half-forgotten dream, where joy or even pained feelings submerge and break down into something more ambiguous.

Brett Naucke: Seed

This is an album of deep headphone music, a unique analysis of texture. It floats around ideas of sound art and ambient music but mixes these with scattered electronics and fragmented field recordings.

Dauwd: Kindlinn EP

Dauwd steps up his game with this EP, moving with ease from more broken rhythms to an ambiant-housey combination without abandoning what made him popular: those catchy, swarming pads and synthlines and that perfect taste in production. Everything is in its right place, emotional and sophisticated.

Mike Dehnert: Lichtbedingt

With this album, Dehnert demonstrates his consistency, switching with finesse from techno to housey patterns, finely sharpening his tunes – quietly delivering one of the best techno albums of the year so far.

Sculpture Mix Tape: Membrane Pop

We caught up with audio / visual duo Sculpture ahead of the release of their new album ‘Membrane Pop’ on Oneohtrix Point Never’s Software Recording Company in May. Sculpture have also compiled an experimental mix tape for you to stream.

D’Marc Cantu: Long Weekend EP

All three tracks on offer here manage to conjure idiosyncratic sonic landscapes; wholesome, heady and vibrant cocktails of aural colour that you’d struggle to put down and before you realise, they’re gone.

Takuya Matsumoto: Ram EP

Taking inspiration from almost every flavour of house and techno going, the Ram EP often invites external comparisons, yet still defies hard-and-fast classification – a testament to Matsumoto’s singular sound.