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Barnt: Magazine 13

Barnt’s debut LP is not funny-sounding, it’s not barely cool or assuming any particular stance towards today’s music industry. No, this is nothing of that but most certainly, this album is a subtle game-changer and hopefully, a matrix opus.

Top Tracks: November 2014

Before the year comes to an end, we’re up for a last round of our monthly top tracks selection.

Various: LL.M.001

Blending together the art of the shape and the replenishment of the matter, LL.M.001 assumes its position with sleek style and unquestionable taste.

Recondite on Iffy

Following the release of Recondite’s third album last month, we caught up with Lorenz Brunner to find out more about the concept behind the album, artwork, music video and relationship he has with Ame, Dixon and the rest of the Innervisions crew.

Shifted: Arrangements in Monochrome (Part 1 & 2)

Shifted’s commitment to relentless, uncompromising sound is distinct, and as these EPs prove, the results are thrilling. There is a slight sense that they’re serving as a transition to the next Shifted full length, but their clarity and intensity is a reminder of the potential still held in dark, hard, techno.

Volte-Face

It seems that 2014 has been ‘the’ year in which everything that Casper Clark has worked for has been worth it. This mix is a summation of Volte-Face’s musical scope and integrity, offering up a hour and a half of experimental techno.

Mark Forshaw: Explorer EP

Mark Forshaw’s Explorer EP doesn’t depart from the tentacular and daring approach that characterizes his sound. It’s perhaps even the most representative example of his well-tried technique and wide-scope of influences to date.

Kero’s Clustering Imaginarium

Kero opens up about her background in illustration, her love for Xerox printed underground party flyers, her role as the in-house illustrator for Life and Death, plus her insatiable appetite for electronic music.

Eric Truffaz & Murcof: Being Human Being

Like Bilal’s paintings and drawings, the elegiac and mournful overtones of this record finds its influence and informants in the unsettling aspects of our own historical moment. And like Bilal’s art, it shapes these influences into something that speaks back to them, making for a very human response that is almost impossible not to connect with.