The Factory
T.I.M.E.

At the turn of the 90s, Philippe Cohen Solal, then musical director for Virgin, becomes one of the first music supervisor in France and works on film scores by Arnaud Desplechin, Nikita Mikhalkov, Lars von Trier, Bertrand Tavernier or Kieslowski, then later composes for Tonie Marshall, Christian Vincent and Didier Le Pêcheur. He meets the very young composer and arranger Christophe Chassol with whom he will sign early 2000 soundtracks, during these sessions they create together the soundtrack of an imaginary film where music would be our spiritual food.The majority of themes are composed by Philippe with his musical partner at the time Christoph H. Mueller before they formed the Gotan Project. Unveiled here for the first time, this album pays tribute to the art of soundtracks, inspired by the world of sophisticated arrangements by Michel Legrand, Henry Mancini, Lalo Schifrin and so many others. Add a touch of folk jazz with the singers Nivo and Gabriela Arnon and the voice of the brilliant Welshman, leader of Scritti Politti, Green Gartside.

Domestic Exile warmly welcome the return of Grim Lusk, coming full circle to follow up 2018’s ‘SUNP0101’ after releasing under their Dip Friso and Sunny Balm aliases in the interim. ‘Diving Pool’ is a hallucinogenic concoction of marshy, aquatic, oscillated dubs and skittering, microtonal beat experiments. Grim Lusk's signature production style is in full effect, often occupying some liminal space nearing offbeat discordancy, but beautifully pulling together on the brink. Gelatinous machine funk rhythms and sweet, syrupy dub bass ooozing with a vibrant convergence of bright psychedelic greens, yellows and oranges, akin to bubbling sulphur pools and lava lakes, are present throughout the 6 tracks; Nuovo takes late 80’s drum machine patterns and twists them up with rough-cut vocal chops and long-form sampling of a 60’s film on the first iteration of ‘​​Il Gruppo”. Striding into the turbulent sea, Partans is kept jovial by rim shots, cymbals and snares fed back over the forward bass buzz. Not Enough is a bizarre, primordial, stretched-out gloop sludge half-speed version of the B-side track Too Much, twisted into new rhythmic territory by an off-kilter breakbeat sample. Diving Pool takes crushed, bouncing drum machines and loop-focussed experimentation to find incidental interplay between the two, whilst somehow retaining ebullient make-you-movable gusto. Angular rhythm and zealous sample manipulation seep through in Too Much, live drums patched, extrapolated and pulled further out in the mix, where jump cuts between familiar vocal chops and distorted tape delay contort manically- a warped, swinging echo of Slum Village's ‘I Don’t Know’. Wazoo rounds things out with the most club-leaning moment of the record, a saturated, throbbing atmosphere hanging over a beat-up, lurching drum sample layered with malleable pitched percussion and fuzz guitar. Peculiar shapes, fragmented shards of rhythmic patterns, crushed, crystallised snares, and congealed, jelly-like dubs; the music embodies a sense of carefree fun and playfulness, where dissolving layers of organic echoes, warm, slippery reverbs, and expansive phaser EFX stretch out into nebulous space…

Compilation of all new productions from a wealth of international talent, put together by Knekelhuis.This is a story of friendship, about how it grows stronger through the years. But it’s just as much about fledgling togetherness and shared art in times of crisis. The result is an introspective document of contemporary music, in spirit of Eno and Hassell. A space where we embrace our differences and speak the language of collectivity together, where we reflect, adapt and value each artist's contribution equally. To witness a multitude of cultural backgrounds that speak one like-minded language. Soothing and illuminating. And felt like...Mastered by Amir Shoat and artwork by Keziah Phillips and Steele Bonus.