As one half of the pioneering duo Vex’d (alongside Jamie Teasdale, aka, Kuedo), Roly Porter was intrinsic in the development of what would come to be known as dubstep. When Vex’d decided to go their separate ways in the mid ‘00s Roly pursued a solo career in an attempt to escape the genre constraints he felt had become a restriction. With two solo albums behind him (Aftertime and Life Cycle of a Massive Star), his output has primarily been fuelled by a desire to write beat-less music, something Roly is keen to specify he doesn’t view as being the same as ambient music.
Roly’s music isn't about ‘day to day’ life. Instead it’s an opportunity for him to think about ‘larger’ things outside his personal experience, which in turn has had a profound impact on how Roly is able to see his own life and that of others around him. Third Law is about combining everything Roly has loved and missed about producing sound-system music, with the more compositional ideas he began to explore on his solo work. While Third Law is related to his past, for Roly this album represents finally coming to terms with his goal of leaving dance music as it is, free to explore ideas of rhythm, bass, sound design within his own world without having to shape any of these elements to fit any preconceived ideas or rules.

On her debut LP, Color, the LA based, singer-songwriter-producer Katie Gately has built seven maximalist electronic compositions based on the idea that more is more. Meticulously composed from layers of found sounds and manipulations of her own voice, Color pulses, lurches, and throbs with the excitement of a million barely-controlled ideas and the energy of a sped up cartoon. The cacophony of sounds could easily slide into chaos were it not for Gately's uncanny knack for melody. Even at their wildest, songs like "Tuck", "Sire", and "Frisk" all boast some sort of accessible emotional core - be it an earworm melody or the kind of winding, circular beat that becomes almost impossible not to hum or sing or feel.

Available on imited edition vinyl, 500 copies, and limited edition tape cassette, 100 copies.

The debut full-length release for the Houston-born and Berlin-based electronic producer J'Kerian Morgan was inspired partly by marching bands and Ta-Nehisi Coates' "Between The World And Me."

All Music By Sae Heum Han
Recording Engineered by Ian Henry and Sae Heum Han
Mixed and Mastered by Sae Heum Han
Art by Corey Dixon and Sae Heum Han

Boomkat Product Review:
Hanz rakes over vintage hip hop, post punk and industrial ground with a cineaste’s eye to locate new mutations in the undergrowth of Plasty I, the North Carolina, US artist’s follow-up to the Reducer [2014] LP for Tri Angle.
Lodging somewhere between the ears of BAT, a lo-fi MBM and the asymmetric designs of Co La, Plasty I breaks down to a ruffcut patchwork of processed and sawn-off samples wrapped up in dream-like electronic atmospheres and laced with a trippy experimental edge.
It’s pretty much a 2017 answer to the more frayed fringes of UK trip hop and NYC illbient vibes.