“Quivering in Time” is the debut album by DJ and producer Eris Drew on T4T LUV NRG, the label she runs with partner Octo Octa. In 2020, after the release of Trans Love Vibration (NAIVE, 2018) and Transcendental Access Point (Interdimensional Transmissions, 2020), Eris moved from her hometown of Chicago to rural New Hampshire and recorded the nine beautiful songs featured here. Her first album feels something like her DJ sets, with stacked layers of vinyl samples and turntable manipulations serving as a fast-moving foundation for hand-played keyboard riffs, walls of percussion and sampled, scratched and strummed guitar tones. On each song for the album Eris expresses the anxiety and hope of her present. She wrote, recorded, and mixed the album as she stared into the forest through her studio window, collapsing present and past into future, her memories and body literally quivering in time.
The songs are cast with Eris’s experiences and intentions. The plucky progressive Loving Clav is in the form of an evocation (“good times come to me now....”), while the tracks Time to Move Close and Show U LUV express Eris’s longing for togetherness. The hardcore Pick ‘Em Up (“...and it might be a different story”) and organ-heavy Ride Free are funky odes to psychedelics, hard dancing and the subjectivity of real lived experience. The twinkling house of Howling Wind... and the tempo-shifting bop of Sensation capture the mystery of the forest cabin where Eris spent most of the last 15 months. Two booming hip house dubs round out the album, Baby and Quivering in Time, each an itchy track about hope and personal resilience. As with her prior work, Eris’s approach to music making is unique and genre-dissolving. Ultimately, her special sound is a metaphor for her main message, which is that every person deserves to be themself. more

rRoxymore's long-anticipated debut album, Face To Phase, was born of her annual creative hibernation practice. Whereas her previous appearances for Don't Be Afraid - Thoughts Of An Introvert, Parts 1 & 2 - revealed inner worlds of saturated colour and natural expressiveness, she retreated into her studio at the turn of winter 2018 occupied with the idea of dismantling the dancefloor-centric pressure paradigm.
The resulting album, Face to Phase, finds rRoxymore methodically and mindfully stripping back to fundamentals: rumbling minimalist dub, sparse polymetric drums, boldy unpredictable melodic narratives and subtleties which hover out-of-reach or disappear into vapour. Forged by the spirit of club music cultures, Face To Phase favours deep listening; resisting the temptation to reflect on the past or project towards the future, it's an album that is firmly rooted in the contemporary.
Sparked by her own archive of field recordings, and produced primarily but not exclusively in the box, Face To Phase adds several facets to rRoxymore's already wide repertoire. The pensive and beatless opener "Home Is Where The Music Is" was inspired by her longtime friend Planningtorock, while "Forward Flamingo" is a spiraling dream-state of house music dissociation; elsewhere "Energy Points" remains anchored to the ocean floor, radiating heavy dub waves, "Passages" is a ghoulish skeleton of UK break beats, "What's The Plan" closes the album in a blissfully blunted fashion, while twisting, shape-shifting rhythms push and pulse "PPS21" into series of ever-evolving shapes and forms.
Through and in between the eight songs of Face To Phase, rRoxymore fortifies her status as a seasoned artist, grounded by over a decade of live performance and touring, collaboration, composition and experimentation. With a new live performance collaboration with a percussionist set to debut the LP at Atonal on 1st September, rRoxymore is primed to expand her reputation even further as one of the most vital and distinctive artists on the fringes of contemporary club culture.

Andrea is Ilian Tape's odd duck, playing around with the label's sound without ever developing a bold, recognizable personality like his affiliates. Ritorno fixes that. It's identifiably Ilian Tape, with its pounding breakbeats and stirring melodies. But there's a newfound sense of atmosphere added in, and paired with drum & bass aggression, that makes Ritorno a different beast.
These tracks, crunchy and sometimes crushing, are written with texture and tone in mind as much as rhythm. It's why the ambient opener, "Attimo," is one of the best tracks on the LP, with soaring melodies that sound like a choir of synthetic angels. "SKLYN" starts out beatless, then drops a chunky breakbeat with dive-bombing basslines, though the rhythm section is cocooned by the celestial sounds around it. Many of these tracks have humming tones that sound like pipe organs, or at the least whirring machines running in the background. The effect is like flying through clouds. It's blurry in a gorgeous, impressionistic way.
Andrea finds tremendous variety in this formula: skittering IDM on "LG Amb," wobbly dubstep on "Liquid," '90s world music-influenced trip-hop on "Twin Forests." Complex drum patterns are always cushioned by soft sounds, like on "LS September." The Coki-style wobbles on "Liquid" rumble below the hopeful, starry-eyed melodies of liquid drum & bass. Best of all is "Backdrops," part of the album's central one-two punch, which softens the blow of the brutal "Drumzzy" with distorted drums that float on a breeze.
The album is an artistic high point for Andrea, capping off a stunning run of techno full-lengths on Ilian Tape. The label and its artists have a keen understanding of how to tackle an album: don't shed the club approach entirely, and push the envelope without leaving your comfort zone. Ritorno looks back to the golden era of '90s electronica LPs with the musical lexicon of 2020: breaks, bass, brooding techno. It's with these ingredients that Andrea and his cohort have built a sound that feels like it could define our era: techno with rowdy rave characteristics and pretty melodies. It's the Ilian Tape trademark.

London duo Wayward bring their deftness in producing bold and emotive cuts to a revealing debut album Waiting For The World. A leap in artistry, it showcases what Louis Greenwood and Lawrence Hayes are capable of when calling upon intimate memories and feelings, with a diverse body of work that mixes mellowed electronica with breaks, DnB, jungle and techno.
An ode to records like Burial’s seminal opus Untrue, a constant source of inspiration which opened doors in the duo's minds that electronic music can conjure up feelings and visuals. This realisation sent them off on the same tangent in their music, as Waiting For The World demonstrates.
Wayward explains - “This album is our first full length and it feels like we’re making the music we should be. You don’t get a shot at a debut album twice, and we wanted to put out a sonically diverse record that is as energising as it is emotionally-evocative with atmospheric tracks to chill to, and ones with the energy of club impact. We focussed on conjuring specific times, moods and places to bring through reinterpretations of memories and moments not just for us, but for anyone listening”
In the studio they have a history of delivering high<span><span class="bcTruncateEllipsis">...</span></span><span class="bcTruncateMore" style="display:none"> quality productions for artists across a spectrum of genres, including Grammy-winning creative giant Skrillex, Ninja Tune’s Park Hye Jin, and Camden singer/songwriter Chelou.
This album, however, comes on the other side of a creative block which had Louis feeling lost. A solo clubbing experience in Tokyo was the big breakthrough he needed and he returned feeling hugely inspired, laying down a thumping brew of techno, hip hop and soul in the studio. A global lockdown gave the pair a chance to journey back through music they had made across the past two years in London, Berlin, and Los Angeles, where they spent time at a writing camp with iconic Detroit producer Amp Fiddler while working on Chelou’s album.
A turnaround in creative steam and Waiting For The World started to take shape.
‘Oath’, named after the club in Tokyo, chases down the sounds Louis heard within its walls. Flickers of introspective melancholy and euphoria can be heard through scintillating synths and wistful keys in tracks like ‘Canvey Island’ and ‘Bright’. Emotive qualities also come through on tracks dedicated to loved ones, such as ‘Jill’ and ‘Casper part 1’.
Thoughtful samples are laced throughout, the most striking within the explosive ‘All A Bit Mad’ where you’ll hear Femi Koleoso (drummer of London Nu Jazz band Ezra Collective), hyping up the crowd at a gig in London. Uplifting from the get go Femi’s MC Style chants overlay the synths and drums Wayward have primed for the reopening of dance floors. The nostalgic first single ‘Back To The Old Days’ encapsulates their years DJing and putting on events in Leeds, curating impressive line-ups with Benji B, DJ EZ and Giles Peterson to name a few.
Friends since the age of 11 and bonded by a lifelong love for music the pair share a studio and live together in North London where they grew up influenced by the city. In the ten years Louis and Lawrence have been immersed in the scene they’ve DJ’d across the UK, wider Europe, the US and Australia; curated a series of revered club nights in the UK; released a stack of notable releases through Cin Cin Records, Beats Of No Nation and finally found a home in Silver Bear Recordings, a label they’ve been A&amp;Rs for since 2017, steadily crafting its sound, signing regular music from the likes of O’Flynn, and now the home for their debut album</span><span>&nbsp; <a>more</a></span>releases March 26, 2021

Artwork by Andreea Ilisai
Master by Conor at Calyx

Techno, Ambient, Breakbeat
Skee Mask’s endless search and fascination for fresh music, weed and burgers channeled into his own vision of sound. Enjoy the ride through his second album, a detailed experimental universe of a young dedicated hustler.

w&p by Skee Mask
mastered by the Zenker Brothers & Klaus Arnold
artwork photos by Lara Köcke