Released Mar 2021

At a glacial sixty-five BPM in five-B, Sanders and the Orchestra dissolve the room into after-hours stillness.

A 125-BPM D minor vortex of peak-time melancholy that proves Meyer's hypnotic touch belongs on Bedrock.

A slow-motion orchestral sigh at 76 BPM, where Floating Points’ electronics and Sanders’ breath converge in near-silence.

Talabot reroutes Cruz’s earthy pulse into a humid 130-BPM hypnosis where percussion breathes like it was played by hand.

I would throw this feral, chrome-plated electro at peak-time pressure and watch the room ignite.

Parrish locks a heavy, soulful 115-bpm groove into Bb minor hypnosis, letting the room breathe before the pressure drops.

Pure voltage UK sound design wired for peak-time sweat, every frequency precision-tooled for the floor.

Hypnotic bass pressure and sharp sound design collide at 136 BPM for a heady, late-night trip.

I’d call this 140-BPM post-grime warfare: maximum energy, sideways bass, and a grin you can’t trust.

Precision-tooled breaks meet sub-heavy dub pressure at 133 BPM, carving out a shadowy pocket for the leftfield floor.

Taut, neon-slicked electro-grime that snaps at 140 BPM with surgical precision and zero patience for the dancefloor.

Searing Detroit electro forged for 4am paranoia, its twitching synths and metallic dread cutting clean through the smoke.