Volodymyr Gnatenko Kai Noob
Ayakashi Committee EP

Tresydos presents Time For Spirits EP, their release número 7. German producer Atree is in charge of delivering this 4-tracker filled with fresh housey vibes and contagious grooves.

At the boarder between tradition and pulsating desire for change, it was impossible to describe the Georgian Sonic soundscapes without finding its roots in the old wine making tradition. There is no meal or reference without wine, just like there would not be this rising culture of artists without their thoughts for change, filled with the desire to bring a game-changing wind of change to the front of the scene, being musical or political.

Legend has it that the mysterious Hansel J. Tripwire was locked away at the abandoned Riverview Mental Hospital with nothing but a typewriter, a calculator and a Commodore 64 computer for company. ‘Sounds from the Sanitarium’ is the soundtrack to the party he had.On the A, an urgent bassline propels the track forwards, balanced by glitchey samples that shoot around crisp percussion. The B is the funkier of the two, with a similarly chunky bassline providing the backdrop for shuffling high-hats and robotic synths to spiral above.The EP is both menacing and playful, and is sure to cause some seriously wiggy peak-time and after-hours moments. AGT Records is rescuing this weapon from the vaults, all in good time.

Parallel Minds returns after a two-year hiatus with a dub-infested celestial dance debut from a promising Toronto-based producer, record-slinger, and long-time DIY scene mainstay, FicilioFicilio, a.k.a. Will Gillespie and the Parallel Minds crew have enjoyed a long musical friendship. Having met at various underground raves in Toronto, it wasn't long before they found themselves on the same lineups and began trading tunes post-show. When label co-founder Ciel first heard the tunes that would eventually end up on Parallel Minds 003, she was mesmerised by the deep, misty grooves present throughout. 'Dangerous Goods' is the creation of an artist with a super dialed-in sound, whose attention to detail, cohesion, and sound design suggest experience wise-beyond-their-years.‘Rush-V’ begins the release with a shimmery bang, propelled by infectious chord stabs that sound like they're sprinkled with alien fairy dust and grounded by a driving and subby drum groove. 'Fluid Form' continues in this trajectory, all spacey synths and dubbed out stabs propped up by tough and bouncy drums and a deep low sub. There is an unmistakable 90s influence on these tracks, halfway between old Swayzak and the early 90s output of Dutch label ESP Records. Ficilio is not afraid to flirt with dub techno AND trance influences, which is most discernible on the last track on the A-side, the sublime 'UAM'.In comparison to the other side, the B-side is a more sub-loaded affair. The drums on this side are less driving and more broken, chopped, and staggered. They work spectacularly on the title track, its vocal chops complement the low-slung groove of the drums to a hypnotic head-nodding effect. 'Second Fold' intrigues immediately with its unusual tempo, fluttering along in a leisurely way until these enchanted synth stabs come in and the track blooms like a beautiful flower. The release comes to a Zen-like close on 'Frame (Amber Mix)', the heavy sub and sparse arpeggiated loops draw us deep within its cavernous interiors.

On the inaugural release of Västkransen Variations, Salary Boy and Ari Bald team up to explore four shades of house. While both these Stockholm producers have been hailed for their tasty sample-based dance tracks, they now reveal a deeper side of themselves.On the A-side, Salary Boy gives us “Newland Court”, whose bassline and jazzy soundscapes might bring a certain Larry Heard to mind. However, the production is a timeless piece of house beauty. On his remix, Ari Bald infuses the track with punchy breakbeats and wild arpeggios. On the AA-side, Ari continues with “Daytrippin’”, a retro-futuristic saga which plays out in a dreamlike, almost druggy, haze. Salary Boy then closes the record with his own interpretation of the track, stripping it down it into a powerful four-on-the-floor spinner.