Pletnev
When The Job Is Done

Far over on the west coast of the USA we find a room full of drummachines, samplers and keyboards. Hard at work is Israel ‘Iz’ Gravning aka Tone Scientist, who’s been using this Seattle studio to produce genre-defying future music for more than 25 years.

Jon Jones (@jonjonesmusic) is first to contribute to the DS global frequency database, with a blissed-out 3-track EP, 'Hyla'. In this program, we are situated in an open-world environment with a densely populated 3D rainforest installed. Here we will explore the realms of cybernetics and it's correlations between ourselves and the natural world.Now available to experience throughout our EtherNet™ system.Program A is a transcendent journey, dosed with a utopian vision. Organic progressive breaks and a mycelial 303 acid line, infused with euphoric beauty, all maintaining the organic touch that really defines Luke's music. 'Gateway' is best defined as a simulation of ascending the stairs to the higher plane.Program B1 'Nor Heaven, Nor Hell' is a deep, swirling cosmic trip. An echoed inward spiral driven by an earthy groove and beautifully weaved percussion, all lifted with with blissful pads. This program is optimised for forest use.Program B2 is a soundtrack to your personal interpretation of paradise. Tune in your frequency and imagine. Thoughts of luscious glades with water reflecting the sun at it's highest, drifting weightlessly above a natural utopia.

Mick Wills is no stranger to Frigio Records, the German Dj and producer has turned his hand to edits and remixes on previous releases and now arrives with his own 12” of edits for the volumen 4th of the label’s Ecdisis series. The source material for the two pieces on offer comes from Brazil’s Simbolo, a band formed in 1988 and still active with a career spanning more than thirty years, was a central player in South America’s EBM and Synth scene. Wills has selected two tracks from the Brazilian’s back catalogue, the first being “Mind.” Industrial influences come immediately to the fore, complex drum patterns give way to a juddering groove in which guttural vocals depict a scene of hurt and pain.“Synchrono” occupies the flip. Taken from the 1995 album, In the Danger Zone, the original two minute piece is extended into a seven plus minute epic. Following on from “Mind”, “Synchrono” melts stuttering bass-lines and textured percussion with indecipherable lyrics counter-balancing heady strings. Two cuts of emotive and impacting electronics.

SUR is back with another Various artists. On the A side Future Tones’s head FDEZ and our own Jorge Gamarra aka Ecstatic deliver two tracks for the clubs. On the B side Daif and Gulp with some chill but eerie downtempo beats, and last but not least Argentinian Tade Kop brings some jazz to the EP.

Solo album by Betonkust (Dutch for Concrete Coast). The vinyl comes with a booklet containing drum patterns used on the album, together with a download link of the original samples that you can use for your own music. This record includes a Bandcamp download code for the digital files. Short bio from Betonkust: I was born in Utrecht (1988). I grew up in a very small town somewhere between Amsterdam, Utrecht, and Hilversum. The so-called 'green heart' of the Netherlands. That means there's lots of nature. It was very boring and/or normal. A typical Dutch 1990s upbringing. I've been listening to house music for as long as I can remember. On cassette tapes, on the radio, it was everywhere. Now I live in Rotterdam and there's a lot going on, mainly in the area of electronic music. There is Operator Radio, Clone, Pinkman, etc. Most of my friends are involved in music in some way. The older I get the less I care about gear. I didn't use any expensive or exotic stuff. Korg Electribes (both the sampler and the synth), Korg M1, some Boss effects pedals, a cheap mixer, a Shure SM57 mic, a cheap guitar. For this album everything was recorded in FL Studio. Some tracks on the album started like five years ago with a melody and slowly developed into a full song. Other songs were made one month before mastering. It really depends. But most of the work was done in 2020 and 2021. I think most of this album is about transience, giving up, the infinite sadness of humanity.